>^ 


ITHOGRAPHY:AND 
BTHOGRAPHERS^ 
ft^aOSEPH^PENNELL 
E=ROBINS:PENNELL 

HE'  G  RAPHIC  'ARTS  =  SERIES 


y 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


THE    GRAPHIC    ARTS    SERIES 
LITHOGRAPHY 


THE  GRAPHIC  ARTS  SERIES 
FOR  ARTISTS,  STUDENTS, 
AMATEURS  &  COLLECTORS 
Edited  by  JOSEPH  PENNELL 
Vol.  I.  LITHOGRAPHY 
Vol.  II.    ETCHING 


N    Y-\ 


\PHY    AND 
^    \FHERS 


•-S    IN     T«'' 

STORY     OF 

KTH 

ENNELL 

VS'liU 

>iS     AND 

;?vpT   \  ^ 

'     '^^ODERN 

v;iJ^   i > »    JVK^i 

N'NELL 

R     CLUB 

J.  M.  N.  Whistler  :  Portrait  of  Joseph  Pen.nell 
Drawn  on  paper,  transferred  to  stone,  printed  by  T.  Way. 


f  I  N  W  I  N      PUBLISHER 
ii  .  LONI 


i  Ail. 

FOR 


V  ts*.   J 


JJaZ-yia'5   H'13'^0[   ■iO   T1AHTS)04    :  5)3JT8IHV/   .M   .M    .| 
.(£7/   .T  xd  t)9lnhq  ,3no)e  o)  banslenBi)  .isqeq  no  nwBiG 


LITHOGRAPHY  AND 
LITHOGRAPHERS 

SOME  CHAPTERS  IN  THE  HISTORY  OF 
THE  ART  BY  ELIZABETH  ROBINS  PENNELL 
TOGETHER  WITH  DESCRIPTIONS  AND 
TECHNICAL  EXPLANATIONS  OF  MODERN 
ARTISTIC  METHODS  BY  JOSEPH  PENNELL 
PRESIDENT    OF    THE    SENEFELDER    CLUB 


T.     FISHER     UNWIN     PUBLISHER 
ONE     ADELPHI     TERRACE     LONDON     1915 


First  Published  iQi^ 


{All  i/^lils  n-scrvcd) 


*N& 


-2  u4  T  '^ 
GENERAL   PREFACE 

TO    THE    GRAPHIC  ^ 

ART    SERIES 


0 

^"T"^  HERE  are  endless  series  of  art   books — and  endless  schools  of  art. 

^  I  endless    lecturers    on    art    and  art  criticism.      But    so   far   as    I    know 

there    are     no    books    on     the    graphic    arts,     written    or    edited,    by 

graphic  artists.     This  series   is  intended  to  be  a  survey  of  the  best 

V^  work    in    the    past — the    work    that    is    admitted    to    be   worth   studying — and    a 

^  definite    statement    as    to    the    best    methods    of    making   drawings,   prints,    ami 

engravings,   written    in    every  case    by    those    who    have    passed    their    lives    in 

making  them.  J.   P. 


T 


ERRATUM 
Page  \\\—for  there  are  no  books  read  there  are  no  series  of  books. 


vu 


645161 


a; 
o 


PREFACE 


THOUGH  the  historical  portion  of  this  book  is  founded  upon  that  of 
Mrs.  Pennell  and  myself  issued  in  1898 — and  long  out  of  print — it 
is  new — that  portion  is  not  merely  a  new  edition.  The  book  is 
new  though  based  upon  the  old.  Mrs.  Pennell  wrote  all  the 
historical  section  of  the  original  volume.  She  has  re-written  it — leaving 
out  unnecessary  facts,  correcting  mistakes,  and  filling  up  omissions,  making 
it  not  only  more  readable  but  more  reliable.  The  book  still  contains, 
I  know,  a  number  of  commissions  and  omissions.  I  have,  I  am  afraid, 
made  mistakes  and  included  unnecessary  matter.  I  have,  however,  tried 
to  leave  out  superfluous  lithographers  and  redundant  methods,  for  to  me, 
the  trouble  of  most  art  books  is  they  make  so  much  of  history  that 
they  omit  facts.  The  technical  part  is  entirely  new.  It  is  arranged  after 
the  method  of  Senefelder's  Complete  Course  of  Lithography,  not  only  because 
Senefelder's  was  an  excellent  system,  but  for  reference.  In  the  sixteen 
years  that  have  elapsed  since  the  book  was  published,  the  artistic  revival  of 
lithography  has  come  to  pass,  and  to-day  artistic  lithography  is  taking  its 
proper  place  with  etching  and  engraving  among  the  graphic  arts — a  place 
which  it  will  always  hold,  for  the  "  litho  artist"  and  the  "  professional  litho- 
grapher "  have  been  put  in  their  proper  places,  by  the  artist,  who  has  found 
out,  that  to  make  an  artistic  lithograph,  nothing  but  artistic  ability,  is 
necessary. 

I  wish  to  thank  Mrs.  Pennell  for  the  great  help  she  has  given  in 
preparing  the  book.  And  Herr  Carl  Wagner,  the  biographer  of  Senefelder, 
for  reading  the  proofs  of  the  chapters  on  Senefelder  and  German  Litho- 
graphy and  making  many  valuable  suggestions.  Herr  Wagner's  historical 
collection  of  lithographs  in  the  Leipzig  Exhibition,  19 14,  I  have  consulted  with 
profit.  I  purposely  kept  the  publication  back,  until  the  opening  of  the 
Leipzig  1914  International  Book  and  Graphic  Art  Exhibition,  hoping  that 
new  men  and  new  methods  might  be  shown.  But  from  a  rather  thorough 
study  of  this  most  interesting  and  instructive  exposition  of  the  graphic  arts — 
the  finest  that  has  ever  been  oot  together — it  is  evident  that  outside  Great 
Britain — and  in  Great  Britain  outside  the  Senefelder  Club,  which  happens 
to  have  its  home  in  this  country — little  of  note  has  been  accomplished  in 
artistic  lithography  which  I  had  not  seen.  The  methods  and  practice  of 
the    members    of  the  Club  are    being    made   use  of  in   Italy  and    America    to 


xi 


PREFACE 

produce  most  Interesting  results  in  the  hands  of  experimenting  artists.  The 
most  notable  exhibit  of  artistic  lithography  at  Leipzig  was  the  historical  collection 
arranged  bv  Herr  Carl  Wagner,  to  whom,  for  his  most  successful  work  in 
this,    and  other  directions,   the  thanks  of  all  artist  lithographers  are  due. 

The    revival     of    artistic    lithography,    now     in    progress,    is    the    work    of 
artists,    for    artists,    and    by    artists — visits    to     the     Graphic     Arts    and     Book 
Exhibition    at    Leipzig,    the    Work    Exhibition    at    Cologne,    and    the    Printing 
Trades'    Exhibition    in    London — prove  this.       In    Leipzig  the    work    of   artists 
was    properly   presented  ;    in     London    it     was    completely    absent    or    carefully 
hidden,  save  for  the  posters  and  designs  made  by  the  members  of  the  Senefelder 
Club.      Even  in  the  schools  the  work  the    pupils  were  doing,  or   showing,  was 
purely    commercial,    and    that,     in    comparison   with    foreign  work,   of    the  most 
commonplace    description.       The    only  school    exhibit — I   admit  the   work  done 
by  the  Central  School  of    Arts  and  Crafts   in    London    under    the  direction    of 
Mr.   Jackson  was  not  shown — which  displayed  the  slightest  character  or  showed 
ability,   on  the    part    of  the    students,   studying  lithography,   was    sent    from    the 
Royal    Technical    School    at    Glasgow.       While   lithography    is     being  furiously 
practised  on  the  Continent  by  artists  and  students,  while  experiments  are  being 
made    in    the    United  States,    here  teachers  and    pupils  jog  along  in  the  same 
old  rut,  and  when  once  in  a  while  some  one    on    the    Continent  copies    some- 
thing from    them,   cease  work    altogether   in   order   to    rejoice    and   congratulate 
each    other    on    the    influence   of    British    arts    and    crafts    abroad  ;    or    as    now 
endeavour  to   steal   trade,    ignorant  of   the   fact    that    trade,    in    its    way,    is    the 
result    of  art.      On    the    other    hand,    there    is    no    doubt    that    in    lithography 
to-day    British    artists,   or    rather  artists    of    various    nationalities    and    training 
living   and    working    here,    are    making    the    greatest    strides    and    progress    in 
artistic    lithography,    and    they   are    influencing    the    art    in    other   lands.      The 
future     is    bright,     and     the     artists    are    enthusiastic,     carrying     on     the     best 
traditions    of    the    past,    and    applying    to    them    the     best     methods     of     the 
present.      Encouragement  is  being  given  artistic  lithographers    and    lithography 
in    many  ways.      The  Royal    Society  of   Arts  invited   me    to    deliver  a    course 
of   lectures  in   their   Cantor  Series,   in  the   spring  of   1914,  and   other  members 
of  the    Club — Mr.    Copley    and   Mr.  Jackson    as    well    as    myself — have    given 
talks,   from    Dublin    to    Doncaster    and    from    Brighton   to   Glasgow,   which    we 
hope    may   have  proved   useful.       Publishers  are   taking  up   artistic  lithography, 
and   so  are    commercial    firms,  and  by   the    combined   work  of   all,   we  are  sure 
the    most   autographic,    of   the   graphic,   arts,    will    soon    hold    again,   as    it    once 
did,   the  most  important  place  among  them. 

I  hope  that  the  technical  methods  are  clearly  e.xplained,  but  no  one  knows 
better  how  difficult  it  is  to  explain  the  simplest  mechanical  or  technical  matters. 
Artistic  work  cannot  be  taught.  Either  one  is  an  artist  or  not,  but  an  artist 
is   not  a   master  till  he  has   mastered  technique,  and   that   is  what   I   have  tried 

xii 


PREFACE 

to   make  clear   in    the   technical   part  of  the  book — to   tell  how  a  lithograph  is 
made,  how   I   make  it,  how  the  other  men   I   know  make  it. 

PS. — The  last  pages  were  written  just  after  the  opening  of  the  Leipzig 
Exhibition.  I  returned  to  Germany  in  June  to  further  study  and  to  work  at  the 
Pan  Press  in  Berlin.  I  had  arranged  for  a  series  of  e.xamples  of  modern 
lithography  to  more  fully  illustrate  the  book.  But  in  a  moment  all  was 
wiped  out.  War  affects  the  artist  more  than  any  one,  and  if  this  book  in 
its  showing  of  modern  lithography  is  deficient,  it  is  with  the  brainless  fools 
who  have   brought  on    this  woeful   war   that  the  blame  lies. 

Mr.  Campbell  Dodgson  has  just  pointed  out  to  me  that  the  Goyas  are 
now  properly  catalogued  and  described  in  the  Print  Room  of  the  British 
Museum.  He  has  done  much  more  than  this,  however;  he  has  in  a  practical 
fashion  encouraged  artistic  lithography  by  purchasing  for  the  Print  Room 
the  work  of  living  lithographers,  a  delightful  contrast  to  his  predecessor  in 
this  department.  At  South  Kensington,  in  Washington,  and  in  the  Uffizi 
and  other  Italian  museums,  lithographs  are  being  collected,  while  till  the  war, 
all  over  Europe  there  was  great  interest  in  the  art,  and  great  encouragement 
to   artists,   through  museums,   schools,    collectors  and  dealers. 

Art  crushed  will  rise  again,  and  though  Europe  is  hid  within  the  cloud  of 
war,  and  art  and  literature  thrown  aside,  or  trampled  on,  there  is  no  reason  why 
what  has  been  done  should  not  be  recorded,  lest  facts  be  forgotten — no  reason 
why  methods  should  not  be  described,  lest  those  who  practised  them  should 
practise  them  no  more.  Where  now  are  the  Germans,  the  Belgians,  and  the 
Austrians,  and  the  French  I  was  working,  and  talking  over  lithography  with, 
a  few  weeks  ago  ?  Vanished  all  for  a  time,  some  for  ever.  And  that  too 
peaceful,  too  prosperous,  artistic  time  will  never  return  for  me.  Therefore  it 
is  well  to  record  what  is  known  of  the  history  and  methods  of  lithography, 
lest  we  foroet. 


o 


LONDON,  NOVEMBER  8,  19U.  JOSEPH   PENNELL. 


xui 


CONTENTS 


PAGE 

GENERAL   PREFACE  .........        vii 


PREFACE         ...........         XI 

LIST   OF   ILLUSTRATIONS      .........      xvii 

Chapter   I 

THE   CELLINI   OF   LITHOGRAPHY     ........  5 

Chapter   II 

THE   BIRTH   OF   THE   ART    IN    FRANCE         .......        37 

Chapter   HI 

THE   GREAT   PERIOD   IN    FRANCE     ........        53 

Chapter   IV 

EARLY   ENGLISH         ..........        89 

Chapter  V 

THE   REVIVAL   IX    ENGLAND  ........         129 

Chapter  VI 

REVIVAL   IN    FRANCE  .........         165 

Chapter  VII 

THE   SPREAD   OF   THE   ART  .  .  .  .  .  .  .  .         189 

Chapter  VIII 

TECHNICAL  AND   CRITICAL   INTRODUCTION  ......      233 

Chapter  IX 

DESCRIPTION    OF   THE   STONE   AND   METALS  ......      246 

XV 


CONTENTS 


Chapter  X 

PAGE 

CHALKS,   INKS,   ETCHINGS,   GROUNDS  AND   COLOURS  .....      253 


Chapter  XI 

OF  ACIDS  AND   OTHER   COMPOSITIONS   TO   PREPARE   THE   STONE  .  .  .      258 

Chapter  XII 

OF   NECE.SSARY   INSTRUMENTS   AND    UTENSILS      ......      262 

Chapter  XIH 

OF  PAPERS  ...........      265 

Chapter  XIV 

OF   PRESSES   AND   OF   PRINTING      ........      270 

Chapter  XV 

OF   THE   DIFFERENT   MANNERS   OF   LITHOGRAPHY  .....      285 

Chapter  XVI 

OF   COLOUR   LITHOGRAPHY  .......      294 

Chapter  XVII 

OF  THE   WASH   MANNER       .........      3OI 

Chapter  XVIII 

OF   PROOFS  AND   EDITIONS  ........      306 

INDEX  ...........      309 


XVI 


LIST  OF   ILLUSTRATIONS 


NO. 

1.  J.  M.   N.  WHISTLER:    PORTRAIT  OF  JOSEPH  PENNELL       .  .  .     Frontispiece 

Photolitho  by  F.  Vincent  Brooks.     From  the  drawing  on  paper,  transferred  to  stone,  printed  by 
Thomas  Way. 

PAG  V. 

2.  A.   VON    MENZEL:    CHRIST   IN    THE   TEMPLE  .  .  .  .  .         ix 

3.  FRANZ    HANFSTANGL:    PORTRAIT   OF   ALOIS   SENEFELDER  .  .  3 
Printed  by  Hanfstangl. 

4.  J.    N.   STRIXNER  :    PAGE   FROM   DURER'S   MISSAL   OF   MAXIMILIAN  .  .  .  / 

Drawn  by  Strixner,  printed  by  Senefelder.     The  first  book  printed  by  Senefelder,  Munich,  iSoS — Albrecht 
Diirers  Christlich  Mythologischen  Handzeichnungeii . 

5.  ALOIS      SENEFELDER     (?)  :       TITLE-P.A.GE      TO       GERMAN       EDITION,        iSiS,      OF 
COMPLETE    COURSE    OF  LITHOGRAPHY  .  .  .  .  .  .II 

This  contains  Senefelder's  statement  of  the  date  of  the  invention  of  lithography,   179S. 

6.  BARON    GENERAL   LEJEUNE  :    A   COSSACK       .  .  .  .  .  -15 
Printed  by  T.  &  C.  Senefelder,  Munich,   1806. 

7.  F.    PILOTV  :    THE   BOAR   HUNT  .......         I9 

After  Snyders.     In  the  Munich  Gallery  Collection. 

8.  F.    HANFSTANGL  :    PORTRAIT  .......         23 

After  Van  der  Heist.     In  the  Dresden  Gallery  Collection. 

9.  BERGERET:     MERCURY  ........         27 

The  first  French  lithograph,  apparently  drawn  on  paper  and  transferred  to  stone.     Drawn  for  the   Litho- 
graphic Press,  23,  Rue  Saint  Sebastien,   Paris,   1S04 — Senefelder's  Paris  Press. 

10.  R.    P.    BONNINGTON  :    RUE   DU   GROS-HORLOGE   A   ROUEN     .  .  .  -31 
From  Baron  Taylor's    I'oyages  Pittoresques  el  Romantiques  dans  V Ancienne  France. 

11.  J.   T.   CHARLET  :     TIREURS   DE   LA   COMPAGNIE    INFERNALE  .  .  -35 
Drawing  "a  la  maniere  noire."      Scratched  drawing  from  black  to  white. 

12.  A.    RAFFET  :    LE    REVEIL  ........         39 

13.  A.    RAFFET:    ILS   GROGNAIENT   MAIS   LES   SUIVAIENT   TOUJOURS    .  .  -43 

14.  T.   GERICAULT  :    THE   BOXERS  .......        47 

15.  EUGENE   ISABEY:    ENVIRONS   DE   DIEPPE        .  .  .  .  .  -SI 
Photolithograph  by  F.  Vincent  Brooks. 


16.  ACHILLE     DEVERIA:     PORTRAIT     OF     ROSE    JOSEPH     LEMERCIER,     FOUNDER    OF 
THE   PRINTING   HOUSE   OF   LEMERCIER  .... 

17.  EUGENE   DELACROIX  :    LION    DE   L'ATLAS        .... 
iS.      GAVARNI  :    PORTRAITS   OF   E.   AND  J.   DE   GONCOURT 

19.  GAVARNI  :    LE   BAL   MASQUE   ...... 

20.  GAVARNI  :    THOMAS   VIRELOQUE  ..... 

xvii 


5.S 
59 
63 
67 

71 


LIST  OF  ILLUSTRATIONS 

NO.  PAGE 

21.  H.    DAUMIER  :     LE     TUDLIC    DU    SALON — ARTISTES   EN    TRAIN     D'EXAMINER   LE 
TABLEAU    D'UN    RIVAL    {LE   CHARIVARI)  .  .  .  .  .  -75 
Photolil.ho  by  F,  Vincent  Brooks. 

22.  H.   DAUMIER  :    A   SAINTE   PELAGIE      .......        79 

23.  H.   DAUMIER  :    LA   RUE   TRANSNONAIN  .  .  .  .  .  -83 

From  La  Lithogi-aphie  MensKcllc. 

24.  THOMAS   STOTHARD       .......•■         8/ 

Print  from  Specimens  of  Polyautograpky,   1803.     Printed  by  Andre  or  Senefelder. 

25.  WILLIAM   BLAKE  .........        91 

From  the   Polyautographic   Collection   in  the  Print  Room  of  the   British  Museum.     Printed  by  Andre  or 
Senefelder. 

26.  SA.MUEL  PROUT  :  THE  PUMP.       .       .       .       .       .       .       -95 

A  drawing  on  paper,  transferred   on   stone,  from  the    English  translation  of  Senefelder's  Complete  Course 
of  Lithography,    iSiS,  printed  by  Ackermann. 

27.  J.    D.    HARDING  ..........         99 

Probably  drawn  on  stone.     From  his  Album  Park  and  Forest, 

28.  G.   CATTERMOLE:    A   DEATH-BLOW      .......      I03 

A  lithotint,  drawn  on  stone. 

29.  JOHN    LINNELL,  JUN.  :    THE   SONNET  ......      I07 

After  Mulready.     Published  by  the  Society  of  Arts,   184S.     Drawn  on  stone. 

30.  R.  J.    LANE:    PORTRAIT   OF   MRS.  JAMESON     .  .  .  .  .  .Ill 

Drawn  on  stone. 

31.  LOUIS   HAGHE  :    THE   SIMOON    IN    THE   DESERT  .  .  .  "  .  .      II5 
From  David  Roberts'  Holy  Land.     Drawn  on  stone,  printed  by  Day  and  Haghe  in  colour. 

32.  FREDERICK   SANDYS:    THE    NIGHTMARE  .  .  .  .  .  .      II9 

Caricature  of  J.   E.   Millais's  ''Sir  Isumbras  at  the  Ford."     Drawn  on  zinc. 

33.  J.   M.    N.   WHISTLER:    ST.   GILES',   SOHO  .  .  .  .  .  •      I23 
Drawn  on  paper,  printed  by  Way. 

34.  J.    M.    N.    WHISTLER:     THE    THAMES    .......       127 

Lithotint,  drawn  on  stone,   printed  by  Way. 

35.  C.    H.   SHANNON:    THE    BATHERS  .  .  .  .  .  .  -131 

Drawn  on  paper,  transferred  and  printed  by  the  artist. 

36.  WILLIAM    ROTHENSTEIN  :    PORTRAITS   OF   RICKETTS   AND   SHANNON  .  .      I35 
Drawn  on  paper,   printed  by  Way. 

37.  J.    S.    SARGENT:    A   STUDY         .  .  .  .  .  .  .  .139 

Drawn  on  paper,   printed  by  C.  Goulding. 

38.  WILLIAM   STRANG  :    THE   ARTIST'S   PORTRAIT  ....      I43 

Drawn  by  him  on  Van  Gelder  paper,  transferred   to  stone  by  Tliomas  Way,  and  printed  on  Van  Gelder 
paper. 

39.  J.   KERR   LAW.SON  :    IL   PONTE  .......      I47 

Lithotint,  drawn  by  the  artist  on  stone,  and  printed  by  him  at  the  Senefelder  Club  Press. 

.xviii 


LIST  OF  ILLUSTRATIONS 


xo. 

40. 


41. 


42. 


ETHEL   GABAIN  :    THE   REVELLERS      .... 
Drawn  on  stone,  printed  by  the  artist. 

E.  J.   SULLIVAN  :    THE   LOVES   OF   ZEI'HVRUS   AND   FLORA    . 
Drawn  on  paper,  transferred  to  stone,  printed  by  C.  Goulding. 

JOHN    COPLEY  :    REMI,   THE    PRIEST   OF   THE   SACRED   GROVE 
Drawn  on  stone  and  printed  by  the  artist  at  his  own  press. 


43.  H.   FANTIN-L.ATOUR  :    ROSES  ........ 

Drawn  on  paper,  transferred  to  stone,  printed  by  Lemercier  (?).     PhotoUthograph  by  F.  Vincent  Brooks, 
Day  and  Son. 

44.  A.   LUNOIS  :    HOLLANDAISE    DE   VOLENDAM  ...... 

Wash-drawing  on  stone. 

45.  F.   TOULOUSE-LAUTREC  :    COVER   IN   COLOURS   FOR   l'eSTAMPE   ORIGIXALE 
Method  and  printer  unknown. 

46.  JULES   LEONARD  ......... 

After  Rembrandt's  "Man  in   Fur  Hat"  in  tlie  Hciiiiilage. 

47.  T.  A.   STEINLEN  :    EN    GRfeVE  ........ 

48.  H.   FANTIN-LATOUR  :    IDYL      ........ 

Drawn  on  paper,  transferred  to  stone,  printed  by  Lemercier  (?).     Photolithugrapli  by  F.  Vincent  Brooks, 
Day  and  Son. 

49.  JEAN   FRANCOIS   MILLET:    THE   SOWER  ...... 

Drawn  for  VArtiste,  but  not  pubhshed. 

50.  OTTO   GREINER  :    THE   DANCE  ....... 

51.  A.   VON    MENZEL  :    THE   GARDEN  .... 
From  Sketches  with  Chalk  and  IVash  on  Stone.     I'hotolitho  by  F.  \'incent  Brooks,  Day  and  Son. 


52.  OTTO   FISCHER  :    IN   THE   WOOD 

53.  II.    UNGER  :    STUDY   HEAD        .... 

54.  KATHIE   KOLLWITZ  :    WORKWOMAN    . 

55.  M.   A.   J.   BAUER  :    THE   SPHIN.X 

56.  H.   J.   HAVERMAN  :    MOTHER   AND   CHILD 

57.  JAN   V.   VETH  :    PORTRAIT   OF   A.   VON    MENZEL 

58.  STORM   VAN   'SGRAVESANDE  :    DUTCH   FISHING   BOATS 

59.  J.   MARIS  :    DUTCH   CHURCH      .... 

60.  FRANCISCO   GOYA  :    THE   BULL   FIGHT 

61.  FRANCISCO   GOYA  :    PORTRAIT 

Unknown. 


PAGK 


163 

167 
171 

179 

183 

187 
191 

199 

203 
207 

21  I 
215 
219 

22  "J 
227 

^35 


XIX 


LIST  OF  ILLUSTRATIONS 

XO.  PAGE 

62.  ADOLPHE   HERVIER  :    LANDSCAPE        ,,.....      239 

63.  H.    DEKOV:    PORTRAIT   OF   BAUDELAIRE  ......      243 

64.  F.   BRANGWYN  :    THE   DOCKS  .  .  .  .  .  .  .  .      247 

Drawn  on  stone,  printed  by  F.  Vincent  Brooks,  Day  and  Son,  in  two  colours.     A  poster  for  the  Under- 
ground Railway. 

65.  ANTHONY   R.   BARKER:    THE   THEATRE  .  .  .  .  .  .      25I 

Drawn   on  paper,  transferred  to   stone,  printed    by   F.  Vincent  Brooks,  Day  and   Son.     A  poster  for  the 
Underground  Railway. 

66.  G.   SPENCER    PRYSE  :    THE   FOOTBALL   M.\TCH  .....      255 

Drawn  on  stone  in  colour  by  the  artist,  printed  by  F.  Vincent  Brooks,  Day  and  Son.     A  poster  for   the 
Underground  Railway. 

67.  H.    BECKER:    THE   MOWER      ........      259 

Drawn  on  paper,  transferred  to  stone,  printed  by  F.  Vincent  Brooks,  Day  and  Son.     A  poster  for  the  Under- 
ground Railway. 

68.  PAUL   MAUROU  :    THE   VISION  .......      263 

After  H.   Martin. 

69.  A.   S.   HARTRICK  :    BETSEY  ........      267 

Drawn  on  stone,  washed  with  turpentine  from  dark  to  light,  finished  with  chalk,  printed  London  County 
Council  School  Press. 

■JO.      CHARLES   CONDER  :    CABARET  .......      271 

Drawn  on  paper,  transferred  to  stone,  printed  by  C.  Goulding. 

71.  JOSEPH    PENNELL  :    THE   GUARD   GATE,   GATUN    LOCK,   PANAMA   CANAL    .  .      27$ 
Drawn  on  paper  at  Gatun,  transferred  and  printed  in  Philadelphia  by  Ketterlinus  Company. 

72.  D.   A.   WEHRSCHMIDT  :    OLD   PIALL        .......      279 

Drawn  on  paper  with  actor's  grease  paint,  transferred  to  stone,  printed  by  Thomas  Way. 

73.  F.   ERNEST  JACKSON:    THE   "ROBE   DE   VELOURS"   .....      283 
Drawn  on  stone,  printed  by  the  artist. 

74.  EDOUARD   MANET  :    PORTRAIT   DE   FEMME   ......      287 

Method  and  printer  unknown. 

75.  FELICIEN    ROPS:    PORTRAIT   OF  ADfeLE   DUTTE  .....      29I 

■j6.      J.   MCLURE   HAMILTON  :    PORTRAIT   OF  W.   E.   GLADSTONE  ....      295 
On  stone  and  paper,  printed  in  three  colours  by  T.  Way. 

•]•].      HENRI   DE   GROU.X  :    LA   VIGNE   ABANDONNE  .....      299 

78.  E.   CARRIERE  :    WOMAN'S   HEAD  .......      303 

79.  A.   WILLETTE  :    FORTUNE  .  .  .  .  .  .  .  .      307 

Method  and  printer  unknown. 

Note. — In  several  cases  it  is  impossible  to  state  the  name  of  the  printer  or  the  method  by  which  the  work  has  been  drawn. 


XX 


THE    CELLINI    OF 
LITHOGRAPHY 


THE    CELLINI    OF 
LITHOGRAPHY 


CHAPTER    I 

OF  all  the  Graphic  Arts,  Lithography  alone  has  an  authentic 
history.  Metal  Engraving  and  Etching  are  supposed  to  be  the 
outcome  of  rubbings  on  paper  by  the  niello  workers,  done  to 
see  the  effect  of  their  designs  in  metal,  to  make  specimen  books 
for  their  clients,  or  preserve  a  record  of  their  compositions.  The  dispute 
over  the  discovery  of  Mezzotint  is  still  unsettled.  No  one  really  now  knows 
how  Aquatints  were  done.  As  to  Wood  Blocks,  whether  the  Chinese 
invented  the  Japanese,  or  discovered  the  art,  or  each  other,  is  an  endless 
subject  for  endless  authorities,  most  of  whom  have  discovered  little  for 
themselves.  Papillon  in  France  proved  he  knew  all  about  Wood-engraving 
by  the  engravings  in  his  history  of  the  art — and  he  was  most  indignant 
when,  he  said,  "a  fool  of  an  Englishman  came  over  to  tell  me  how  to 
engrave  on  the  end  of  a  block."  Bewick,  who  is  supposed — in  England 
anyway — to  have  been  the  first  to  engrave  with  a  graver  on  a  cross-section, 
the  end  of  a  piece  of  boxwood,  does  not  make  in  his  Memoirs  any  claim  to 
have  done  so.  What  Bewick  did  was  to  apply  the  white  engraved  line 
to  Wood-engraving. 

But  with  Lithography  it  is  different.  Aloys  Senefelder  invented  the  art 
in  1798,  and  he  says  so  in  his  Complete  Course  of  Lithography,  18 18,'  and  no 
one  has  been  able  to  deprive  him  of  one  jot  or  one  tittle  of  his  discovery 
— though  many  have  tried  ;  no  one  has  succeeded  in  doing  anything  e.xcept 
what  he  did,  or  said  could  be  done.  Many  have  thought  they  had  invented 
new  methods  in  stone  printing — lithography — only  to  turn  to  Senefelder,  and 
find  that  he  had  either  practised,  or  predicted  them.  But  Senefelder  was  not 
only  a  prophet  and  an  inventor ;  he  was  a  practical  person,  and  a  nasty  man 
to  get  on  the  wrong  side  of.  He  was  a  modern  Cellini,  and  if  he  did  not, 
like  Cellini,  go  about  after  shop-hours,  instructing  Cardinals  and  informing 
Popes,  and  then  painting  Rome  red  on  his  way  home,  at  any  rate  in  his  leisure 
Senefelder  demonstrated  the  possibilities  of  his  art  to  Society  and  Royalty, 
and  hauled  any  one  into  the  law  courts  who  dared  to  dispute  his  patents. 
And  his  mantle  has,  in  this  respect,  fallen  upon  the  shoulders  of  some  of  his 
followers. 

'   Herr  Wagner  maintains  that  Senefelder's  first  drawing  was  chemically  printed   in   1796, 
but  Senefelder  gives  1798  as  the  date  of  his  discovery. 

5 


LITHOGRAPHY  AND  LITHOGRAPHERS 

Perhaps  the  most  indiscreet  moment  in  Aloys  Senefelder's  Hfe  was  when, 
in  i8iS,  he  began  to  write  the  history  of  his  invention.  For  then  it  was  he 
ruined  his  chances  with  the  modern  chronicler,  or  critic,  who,  in  the  history 
of  art,  prizes  above  all  else  the  unknown,  the  dubious,  the  undescribed,  the 
uncatalogued,  the  obscure. 

There  is  no  reason  why  Senefelder's  claim  should  ever  have  been  doubted 
Patents  and  privileges  were  granted  to  him  in  Bavaria  and  abroad.  His  book 
was  published  while  many  were  alive  who  knew  him,  and  were  acquainted  with 
the  facts,  and  they,  so  far  from  questioning  his  statements,  testified  to  their 
truth.  Engelmann  and  Lasteyrie,  who  founded  the  first  lithographic  houses 
in  Paris  ;  Ackermann,  who  made  the  new  art  popular  in  England  ;  Schlichte- 
groll,  the  Director  of  the  Royal  Academy  in  Munich ;  all  confirm — if  con- 
firmation be  necessary — Senefelder's  straightforward  story,  and  supply  its 
rare  omissions. 

Senefelder's  father,  Peter  Senefelder,  was  a  wandering  play-actor.  In  the 
course  of  his  strolling  he  came  one  day  into  castellated,  sensational,  theatrical 
Prague,  where  Aloys,  his  eldest  son,  was  born  at  the  end  of  1771  or  the 
beginning  of  1772.'  The  boy  passed  his  youth  travelling  with  his  father  and 
other  actors  about  Germany.  In  Munich  he  went  through  school,  and,  unlike 
the  traditional  genius,  came  off  with  flying  colours.  Then  he  was  sent  to  study 
law  in  Ingolstadt.  Senefelder  was  ambitious,  his  inclination,  however,  leaning 
to  things  dramatic  rather  than  legal.  He  may  have  played  with  the  law  ;  he 
certainly  worked  on  the  stage  and  at  the  writing  of  dramas  ;  one,  the 
M'ddchenkeniier,  published  at  his  expense,  yielded  a  profit  of  a  hundred 
florins — no  small  wealth  for  a  student.  This  is  a  trivial  detail,  but  it  proved 
of  infinite  importance  in  shaping  his  career. 

At  the  end  of  his  three  years  at  Ingolstadt,  his  father  died  2  and  left  a 
widow  and  eight  younger  children  to  the  care  of  Aloys,  who,  of  the  law,  had 
learned  enough  to  know  it  was  not  to  be  relied  upon  for  an  immediate 
income.  To  the  theatre  he  looked  for  support,  and,  never  modest  in  his 
ambition,  determined  to  gain  fame  and  fortune,  as  actor  and  dramatist  both. 
He  joined  a  company  and  played  from  town  to  town  of  Bavaria.  But  his 
reward,  he  says,  was  "a  great  deal  of  misery  and  disappointment."  His  plays 
brought  him  no  better  return.  He  was  not  discouraged  ;  confidence  in  himself 
was  undiminished  though  money  v^as  exhausted,  but  he  saw  clearly  that  his 
plays  would  never  be  presented  to  the  world  unless  he  became  his  own  printer 
and  publisher.  It  may  be  that,  since  he  had  it  in  him  to  invent,  he  would, 
under  any  circumstances,  have  invented  something  ;  it  is  more  than  likely  that 
this  something  would  not  have  been  lithography,  but  for  his  desire  to  see  his 
plays  in  print  and  his  belief  in  them. 

He  finally  returned  to  Munich  and  began  to  experiment  in  printing,  though 
'  He  was  born  November  6,  1771.  -  May  4,  1792.     Wagner. 

6 


iTt. 


^*^   ^Sa^T^it  -Ccj 


J-  N.  Strixner  :   Page  from  Durer's  Missal  of  Maximilian. 
The  first  book  printed  by  Senefelder,   1806,   Munich. 


THE    CELLINI    OF  LITHOGRAPHY 

his  technical  knowledge  was  limited  to  hints  picked  up  while  his  earlier  plays 
were  in  the  press.  He  began  by  various  methods  of  stereotyping.  Then  he 
tried  copper  plates,  but  he  was  confronted  at  once  with  two  difficulties  :  every- 
thing had  to  be  written  backward — in  reverse — which  meant  ample  opportunity 
for  mistakes  and  great  difficulty  in  correction  ;  and  copper  was  dear.  In  his 
technical  ignorance,  Senefelder  had  to  discover  for  himself  methods  familiar  to 
engravers  and  printers.  There  was,  had  he  known  it,  a  varnish  which  would 
have  disposed  of  one  difficulty.  But  not  until  after  repeated  failures  did 
he  hit  upon  the  combination  of  wax,  soap,  lampblack,  and  water  which  not 
only  met  his  need  but  carried  him  on  to  his  great  discovery.  By  his  side 
throughout  these  experiments  there  happened  to  be  a  piece  of  Kelheim  stone, 
upon  which  he  ground  his  colours.  It  was  smooth  and  easily  polished.  The 
mission  of  this  plentiful  stone  from  near  quarries  seemed  to  most  Bavarians  the 
laying  of  Munich's  house  floors  ;  but  it  occurred  to  Senefelder  that  it  presented 
the  surface  for  his  experiments  and  would  replace  copper.  After  this,  it  was 
not  long  before  he  found  that  he  could  print  from  the  stone  by  etching  it. 
Thus  it  was  that,  working  for  another  end,  he  provided  himself  with  most  of 
the  materials  of  lithography. 

Senefelder  tells  the  story  in  his  own  words  in  his  own  book,  the  Complete 
Course  of  L  ithography  : 

"  I  had  just  ground  a  stone  plate  smooth  in  order  to  treat  it  with  etching 
fluid  and  to  pursue  on  it  my  practice  in  reverse  writing,  when  my  mother 
asked  me  to  write  a  laundry  list  for  her.  The  laundress  was  waiting,  but  we 
could  find  no  paper.  My  own  supply  had  been  used  up  by  pulling  proofs. 
Even  the  writing  ink  was  dried  up.  Without  bothering  to  look  for  writing 
materials,  I  wrote  the  list  hastily  on  the  clean  stone,  with  my  prepared  stone 
ink  of  wax,  soap,  and  lampblack,  intending  to  copy  it  as  soon  as  paper  was  /- 
supplied. 

"As  I  was  preparing  afterward  to  wash  the  writing  from  the  stone,  I 
became  curious  to  see  what  would  happen  with  writing  made  thus  of  prepared 
ink,  if  the  stone  were  now  etched  with  aqua-fortis.  I  thought  that  possibly 
the  letters  would  be  left  in  relief  and  admit  of  being  inked  and  printed  like 
book-types  or  wood-cuts.  My  experience  in  etching,  which  had  showed  me 
that  the  fluid  acted  in  all  directions,  did  not  encourage  me  to  hope  that  the 
writing  would  be  left  in  much  relief  But  the  work  was  coarse,  and  therefore 
not  so  likely  to  be  undercut  as  ordinary  work,  so  I  made  the  trial.  I  poured 
a  mixture  of  one  part  aqua-fortis  and  ten  parts  of  water  over  the  plate  and  let 
it  stand  two  inches  deep  for  about  five  minutes.  Then  I  examined  the  result 
and  found  the  writing  about  one-tenth  of  a  line,  or  the  thickness  of  a  playing- 
card,  in  relief. 

"  Eagerly  I  began  inking  it.  I  used  a  fine  leather  ball,  stuffed  with 
horsehair,   and   inked   it  very  gently   with    thick  linseed   oil   varnish   and    lamp- 

9  B* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

black.  I  patted  the  inscription  many  times  with  this  ball.  The  letters  all 
took  the  colour  well,  but  it  also  went  into  all  spaces  greater  than  half  a  line. 
That  this  was  due  to  the  over-great  elasticity  of  the  ball  was  clear  to  me. 
So  I  cleansed  my  plate  with  soap  and  water,  made  the  leather  tense,  and  used 
less  colour.  Now  I  found  colour  only  in  such  spaces  as  were  two  or  more 
lines  apart." 

These  experiments,  recorded  by  Senefelder,  prove  to  all  who  understand 
the  technique  of  engraving  just  what  he  was  trying  for.  In  the  first  instance, 
to  etch  upon  stone  exactly  as  one  etches  upon  copper ;  to  cover  the  face  of 
the  stone  with  varnish,  to  scratch  through  this  varnish  to  the  stone  with  a 
point,  and  to  bite  the  stone  thus  laid  bare  with  nitric  acid,  and  so  produce 
an  etching — an  intao-lio  engrravino-.  In  the  second  instance,  as  a  result  of  the 
washerwoman,  he  tried  to  do  the  very  opposite  ;  he  wrote  with  the  same 
varnish,  though  liquid,  upon  the  bare  polished  stone.  He  then  poured  nitric 
acid  upon  the  stone,  when  all  those  parts  not  covered  and  protected  by  the 
varnish  were  eaten  away,  and  the  surface  of  the  stone,  save  where  it  was 
protected  by  varnish,  was  lowered,  leaving  the  writing  in  relief,  as  in  a 
wood-cut  or  a  wood-engraving.  Neither  method  is  lithography  ;  nor  had  the 
idea  of  lithography,  which  is  surface  printing  and  nothing  else,  entered  into 
the   mind   of  Senefelder. 

He  knew  the  value  of  his  discovery — relief  engraving  on  stone.  Stone 
had  been  used  and  so  had  metal.  Blake  was  usino-  metal  in  this  manner  at 
much  the  same  period.'  But  no  one  had  used  stone  in  exactly  the  same  way, 
and  he  foresaw  a  patent  for  his  "invention,"  or,  he  adds,  "some  assistance 
from  the  Government,  which  in  similar  instances  had  shown  the  ojreatest 
liberalitv  in  encouraoing  and  promoting  new  inventions  which  I  had  thought 
of  less   importance." 

This  is  Senefelder's  story.  His  discovery  did  not  bring  him  fortune,  but 
such  bitter  poverty  that  he  is  said  to  have  meditated  suicide  and  then,  to  get 
money  to  continue  his  experiments,  enlisting  as  a  private  soldier.  He  failed 
in  both  these  plans,  but  his  luck  turned  when  he  met  his  friend  Gleissner,  a 
musician,  and  a  composer  as  well,  with  music  to  print  and  a  fancy  for  speculation. 
He  went  into  partnership  with  Senefelder,  a  copper-plate  press  was  bought,  or  that 
on  which  he  made  his  first  experiment  was  used,  the  music  was  written  upon  the 
stone  and  printed,  and  in  less  than  a  fortnight  a  clear  gain  of  seventy  florins 
was  divided  between  the  partners.  There  is  one  important  fact  to  note — that 
the  first  press  used  by  Senefelder  was  a  copper-plate  press.  The  prints  were 
shown  to  the  Elector,  Charles  Theodore,  who  acknowledged  them  by  a  gift 
ot  a  hundred  florins  and  the  promise  of  an  exclusive  privilege.  They  were 
submitted   to   the   Electoral   Academy  of  Sciences,    whose    attention   was    called 

'  Wagner  points  out  that  Schmidt  had  done  the  same  thing  in  Germany,  but  the  maps  on 
which  Wagner  bases  his  contention  seem  to  have  been  engraved  with  a  burin  (see  next  page). 

lO 


A.  Senefelder  (r)  ;  Title-page  to  the  Germax  Edition  of  .-!  Complete  Course  of  Lithography. 
Containing  Senefelder's  statement  of  tlie  date  ot  the  invention  of  litiiograpliy,   1798. 


THE    CELLINI    OF    LITHOGRAPHY 

to  the  cheapness  of  the  new  method,  there  being  people,  even  a  hundred 
years  ago,  with  whom  the  cheapening  of  art  was  the  great  consideration. 
The  Academy,  in  academic  mood,  decided  that,  as  the  initial  outlay  was  so 
small,  double  the  price  of  the  press  would  be  an  ample  reward  to  the  inventor, 
and  they  presented  Senefelder  with  twelve  florins  ;  luckily  one  could  not  get 
a  press  for  that  sum  now,  or  there  would  be  thousands  of  lithographers. 

But  Senefelder's  difficulties  were  technical.  ThouQ-h  his  invention  was 
talked  about,  and  work  came  to  him,  he  could  not  do  it.  His  first  press 
gave  smudged  impressions  from  carefully  prepared  stones  ;  a  second  broke  the 
stone  after  two  or  three  proofs  had  been  pulled ;  a  third  almost  broke  him 
on  the  wheel.  Printers  were  clumsy,  paper  was  spoiled,  patrons  lost  patience, 
the  Elector  withheld  his  privilege.  These  difficulties  filled  the  year  1796, 
Experience  showed  him  the  defect  of  his  method,  and  thus  helped  him  to 
correct  it.  The  fact  is  that  in  1796,  though  he  was  printing  from  stone,  the 
art  of  lithography  had  not  been  invented.  But  by  1798  he  brought  it  to  such 
perfection  that  he  left  next  to  nothing,  in  the  way  of  invention,  for  future 
lithographers  ;    only  the  development  that  comes  with  practice  and  time. 

Durinof  this  vear,  however,  two  other  Germans,  Schmidt  and  Steiner,  ■  had 
begun  to  experiment  in  engraving  upon  stone,  and  Senefelder  published  his 
first  drawing,  or  rather  an  engraving  of  it,  on  stone:  "Conflagration  of  New 
Getting,"-  a  house  on  fire,  conventional  flames  bursting"  from  the  upper  windows, 
a  Noah's  Ark  tree  standing  in  the  foreground.  Steiner  was  charmed.  Copy- 
books, catechisms,  illustrated  sacred  histories,  prayer-books,  were  entrusted  to 
Senefelder,  who,  before  long,  was  training  young  artists  to  draw  upon  stone 
for  engraving,  and  was  himself  trying  to  invent  transfer  paper  which,  costing 
him  several  thousand  experiments,  according  to  his  generous  reckoning,  was  to 
do  away  with  the  necessity  of  writing  backward.  It  was  from  this  endeavour 
to  make  transfers  to  stone  for  engraving  in  relief — not  for  lithography — that 
the  art  of  lithography  was  discovered.  He  writes  :  "  These  experiments  led 
me  to  the  discovery  of  the  present  chemical  lithography,"  by  which  he  means 
surface  printing — lithography. 

He  explains  his  method.  He  wished,  now  that  commissions  were  pouring 
in  upon  him,  to  increase  his  power  of  production,  and  he  invented  a  gummy- 
surfaced  paper,  upon  which  he  could  write  with  his  greasy  ink  or  varnish  that 
he  was  already  using,  without  reversing,  lay  this,  face  downward,  on  the  stone,  run 
it  through  the  press,  when  the  writing  would  come  off  bodily  on  to  the  stone  in 
reverse.  The  ink  being  made  of  the  same  materials  as  his  varnish,  was 
varnish,  and  he  proposed  then,  to  etch  his  stone,  and  to  get  his  engraving  in 
relief  If  it  were  then  printed,  the  engraving  would  appear  in  the  proper 
manner.      But   it  suddenly  occurred  to  him,   why  should  he  engrave  it?     If  he 

'  Wagner  says  Steiner  never  experimented. 

"  A  sheet  of  music  witla  the  drawing  at  the  bottom  Brand  von  Neitdtiing. 


LITHOGRAPHY    AND    LITHOGRAPHERS 

could  transfer  his  drawing  or  writing  from  paper  to  stone,  why  not  from 
stone  back  to  paper,  without  any  engraving  or  biting  ?  Why  not  either  draw 
on  the  paper,  and  transfer  it  to  the  stone,  or  on  stone  itself,  with  the  same 
ink  or  varnish,  or  the  ink  solidified  into  chalk,  and  then  see  if  a  print  would 
come  off  the  flat  surface  on  to  the  paper,  without  any  engraving?  He  did  try 
the  experiment,  or  several  thousand,  as  he  says,  and  succeeded.  And  thus 
lithography  was  invented,  according  to  Senefelder's  own  statement,  by  the  use 
of  the  gummy-surfaced  transfer  paper,  which  he  also  invented  ;  and  this,  he 
says,   constitutes  the  most  important  part  of  his  discovery. 

Senefelder  divides  his  chemical  printing  or  lithography  into  two  manners  : 
the  first,  "  the  chalk  manner,  by  which  every  artist  is  enabled  to  multiply  his 
original  drawings,  the  second,  the  transfer  manner,  by  which  every  piece  of 
writinor  or  drawing  with  the  greasy  ink  on  paper  can  be  transferred  to  the 
stone,  and  impressions  taken  from  it.  This  last  method  may  one  day  be  of 
o-reat  utility  .  .  .  where  the  drawing  or  writing  with  the  same  unctuous  com- 
position is  made  on  paper,  and  is  transferred  from  thence  by  artificial  dissolu- 
tion "  (of  the  gummy  surface  of  the  paper)  "to  the  stone  and  printed  from 
it.  This  manner  is  peculiar  to  the  chemical  printing,  and  I  am  strongly 
inclined  to  believe  that  it  is  the  principal  and  most  important  part  of  my 
discovery.  ...  It  will  be  of  the  utmost  benefit  to  artists  by  enabling  them 
to  obtain  facsimiles  of  their  drawings,  and  I  wish  to  point  out  the  various 
important  purposes  to  which  it  may  be  applied,  in  order  that  clever  artists  may 
devote  themselves  to  its  improvement." 

This  is  the  whole  art  of  lithography,  that  is  ;  surface  printing.  The 
drawing  may  be  produced  either  by  the  artist  upon  stone,  or  it  may  be  made 
upon  paper,  the  method  Senefelder  commends,  and  transferred  to  stone  or 
metal  plates,  or  the  grease  extracted  from  it,  and  affixed  to  the  stone,  when  it 
becomes  a  part  of  the  stone,  and  is  printed  in  the  same  manner  while  the 
drawing  remains  on  the  paper.  Senefelder  tried  to  do  away  with  stone 
entirely,  to  use  tin,  zinc,  or  other  metals,  or  to  invent  a  paper  coated  with 
a  stone  facing  which  could  be  drawn  upon.  But  after  a  hundred  years  of 
experimenting,  till  to-day,  no  such  satisfactory  material  has  been  found  for  print- 
ing from  as  the  Kelheim  stone,  upon  which  he  wrote  the  washerwoman's  bill. 
It  is  solely  owing  to  chemical  action,  and,  in  some,  degree,  the  ease  with  which 
the  stone  may  be  polished  or  ground  with  sand,  and  the  greater  uniformity 
of  the  results  obtained — and  to  no  inherent  artistic  quality  or  merit  of  it — 
that  stone  is  used.  The  name  "  lithography "  is  but  a  makeshift,  though  a 
handy  one.  The  art  is  not  that  of  drawing  or  writing  on  stone,  but  of 
surface  printing — not  even  necessarily  from  stone — by  means  of  chemical 
affinity — a  method  based  upon  the  simple  fact  that  the  calcareous  stone 
imbibes  water  and  grease  with  equal  readiness,   having  an  affinity  for  both. 

Senefelder    gave    explicit  technical  directions  for   every   other    possible   use 

14 


Bakox  GeM'.kai.  Lejeink  ;  A  Cossack. 
Printed  by  T.   &  C.  Senefclder,   iSo6. 


THE    CELLINI    OF    LITHOGRAPHY 

that  could  be  made  of  stone— for  aquatint,  and  colour-work  and  etchinc^, 
and  the  imitation  of  steel-  and  wood-engraving-,  and  so  on.  These  were  mostly 
but  adaptations  of  methods  already  familiar  to  engravers.  His  one  great 
discovery  is  that  the  prints  he  produced  were  printed  from  the  surface  of 
the  stone,  the  material  he  happened  to  find  most  responsive,  and  not  from 
an  intaglio  plate  or  a  relief  block  ;  and  that  every  impression  thus  obtained 
is  as  much  the  artist's  original  handiwork  as  his  drawing,  for  no  original 
exists,  or  ever  did  exist,  except  on  the  stone,  or  the  metal  plate,  or  the 
paper  on  which  we  now  make  it.  Every  print  is  an  original.  It  follows, 
that  a  lithograph  is  simply  and  solely  a  surface  print,  each  print  a  repeti- 
tion, in  exactlv  the  same  greasv  materials,  of  the  original  drawing,  which  is 
absorbed  by  the  stone.  It  is  not  the  drawing  on  stone  or  on  paper,  but 
the  print  obtained  from  the  surface  of  this  stone  or  plate,  which  is  a  litho- 
graph. So,  properly  speaking,  an  etching  is  not  the  engraving  on  copper,  but 
the  print  from  it.  The  lithograph  has  the  inestimable  advantage  of  being 
absolutely  autographic.  By  every  other  method  of  multiplication  known,  the 
design  must  be  changed  entirely  before  it  can  yield  a  print.  On  steel,  the 
lines  must  be  engraved  ;  on  copper,  bitten  in  ;  on  wood,  left  in  relief.  But  a 
lithograph  is  the  drawing  itself,  unchanged,  actually  as  the  artist  made  it, 
multiplied  by  the  printing  press. 

Senefelder's  story  is  a  curious  commentary  on  many  of  the  British 
authorities  who,  to-day,  are  ignorant  of  Senefelder  and  all  his  works.  It  was 
in  179S  that  lithography,  which  he  called  chemical  printing,  polyautography, 
stone-printing,  and  finally  lithography,  was  invented.  It  is  not  until  18 18 
that  we  have  any  absolute  proof  that  he  ever  used  the  word  lithography 
at  all.'  Chemical  printing  discovered,  Steiner,  Director  of  the  Royal  Schools 
of  Bavaria,  became  a  patron,  and  Senefelder  was  able  to  employ  his  brothers 
Theobald  and  George,  and  take  two  apprentices.  In  1799  he  was  earning 
ten  or  twelve  florins  a  day.  At  last  the  official  privilege  promised  was  granted 
him,  that  no  one  for  fifteen  years  was  to  set  up  as  lithographer  in  Bavaria, 
save  at  the  risk  ot  a  penalty  of  one  hundred  ducats  and  confiscation  of 
stock  and  implements.  He  held  his  peace  until  the  privilege  was  secured, 
then  he  spoke  openly,  saying  :  "  In  consequence  of  this  privilege,  which, 
though  it  only  was  for  Bavaria,  entirely  satisfied  all  our  hopes,  I  did  not 
think  it  necessary  to  keep  our  art  any  longer  a  secret,  but  took  a  pride  in 
explaining  it  to  any  stranger  who,  attracted  by  the  novelty  of  the  invention, 
came  to  our  office."  Had  Senefelder  been  less  generous  of  speech,  it  would 
have   fared   better   with    him.      All   his  life  he  was   either    toiling    hard   over   his 

'  Wagner  saj-s  :  "  Senefelder  issued  a  circular  in  1809  beginning  with  these  words,  "Miiskrlnch 
iiber  allcr  lilliogmpliisclien.  Kurst  Alameren,  etc'  ;  while  Andre  in  Paris  got  out  a  prospectus 
dated  I"  Frimaire,  an  13  (November  22,  1804),  containing  the  words  'par  brevet  d'invention. 
Imprimerie  Litliographique,  24  rue  St.  Sebastian.'  " 

17 


LITHOGRAPHY    AND    LITHOGRAPHERS 

inventions,  or  else  seeing  the  prosperity  they  brought  to  others  ;  perhaps  because 
he  did  not  understand  that  the  first  principle  of  business  is  to  seek  only 
your  own  interest,  and  that  once  you  think  you  have  invented  a  new  art,  you 
should  start  a  limited  liability  company  and  a  school  of  worshippers. 

However,  an  immediate  benefit  was  the  outcome  of  his  indiscretion. 
Amione  the  strangers,  welcomed  with  mistaken  effusion,  was  Andre,  a  music 
publisher  of  Offenbach,  a  sharp  man  of  business.  He  was  fascinated,  as 
publishers  were  sure  to  be,  by  the  cheapness  of  the  method,  and  sufficiently 
honest  to  offer  Senefelder  a  fair  price  for  his  indiscretion,  before  his 
indiscretion  had  gone  too  far.  In  return  for  2,000  florins  Senefelder 
surrendered  his  secret  and  went  to  Offenbach,  to  set  up  a  press  and  train 
workmen.  Further  negotiation  ended  in  a  proposal  of  partnership.  The  next 
care  was  to  secure  patents  in  other  countries  before  any  stray  visitor  or 
workman  instructed  in  the  Munich  shop  had  forestalled  them.  Senefelder  was 
dispatched  in  1800  to  London,  where  one  of  the  Andres,  Philip,  undertook  to 
manage  the  transaction,  since  the  babbling  Senefelder  was  obviously  not  to 
be  trusted.  Besides,  as  his  portraits  show  and  biographers  tell,  his  appearance 
would  have  been  against  him  in  a  town  where,  among  business  men, 
appearance  then,  as  to-day,  counted  for  everything.  He  was  awkward  and 
heavy,  with  big  coarse  features  upon  which  benevolence  and  innocence  were 
writ  much  too  large,  and  he  was  dirty  and  untidy.  He  was  kept  a  strict 
prisoner,  much  to  his  disgust.  "  My  stay  in  England,"  is  his  plaintive  protest, 
"had  not  the  expected  success  with  respect  to  establishing  a  lithographical 
office  there  ;  the  principal  cause  was  the  precaution  and  anxiety  of  Mr.  Philip 
Andre,  who  kept  me  during  the  whole  time  of  my  stay  in  a  perfect  seclusion, 
for  fear  of  losing  the  secret."  And,  longing  for  "an  enterprising  print-seller" 
— had  he  met  Ackermann  of  the  Strand  shop,  the  whole  course  of  lithography 
in  England  might  have  been  changed — instead  of  his  over-cautious  partner, 
Senefelder  spent  his  captivity  at  his  favourite  pastime  of  inventing.  So  silent 
was  he,  through  no  will  of  his  own,  that  when  he  left  the  country  few 
Englishmen  had  heard  of  the  invention,  fewer  still  of  the  inventor.  The 
patent  obtained  in  1801  was  entered  in  his  name,  but  Andr6  claimed  it  for 
himself  in  the  first  book  of  lithographs.  Specimens  of  Polymitography,  1803, 
printed  in  England.  The  patent  was  taken  out,  not  for  drawing  or  writing, 
but  for  a  method  of  printing  designs  on  calico  from  stone  or  metal  plates.' 

From  London,  Senefelder  apparently  went  to  Paris,  where  a  patent  was 
granted  in   1802    to  Frederick  Andre,  who    in   F" ranee    passed  for  the  inventor. 

'  Messrs.  Lorilleux  &  Co.  showed  in  the  Leipzig  Exhibition  a  number  of  most  interesting 
items  concerning  Senefelder — his  letters,  notes,  specimens  of  stone  paper,  and  circulars  and 
invitations  to  see  his  work,  issued  in  London  and  Paris.  In  a  circular,  dated  1821,  it  is  stated 
that  "  the  stone  paper  was  invented  by  M.  A.  Senefelder,  as  well  as  a  portable  press  adapted  to 
its  use,  with  a  metallic  economical  plate  for  multiplying  all  kinds  of  drawings,  compositions, 
manuscripts,  and  the  more  easy  copying  of  letters." 

18 


THE    CELLINI    OF    LITHOGRAPHY 

During  Senefelder's  absence  from  Germany  his  friends  and  relations  had 
been  doing  their  best  to  defraud  him.  It  would  be  useless  to  follow  him 
through  the  squabbles  and  complications  and  enterprises  that  filled  these  years. 
He  obtained  patents  and  privileges  in  Austria,  but  soon  was  done  out  of 
them,  and  his  comment  is  worth  repeating:  "The  loss  of  my  privilege,  for 
which  I  had  made  so  many  sacrifices,  grieved  me  indeed  very  much  ;  but  I 
was  bidden  look  to  the  example  of  other  inventors,  who  had  not  fared 
better,  or  derived  more  benefit  from  their  inventions  than  I  had  from  mine." 
It  seems  as  if  every  one  connected  with  Senefelder  was  bent  upon  taking 
advantage  of  him.  Probably  the  fault  lay  partly  with  himself.  Engelmann 
described  him  as  fitful  and  impulsive,  a  creature  of  whims.  He  wanted  to 
invent,  not  to  run  a  business  ;  he  was  always  galloping  full  tilt  toward  new 
inventions,  and  was  busy  with  a  portable  press  that  was  to  revolutionize 
evervthing,  or  a  balloon  such  as  never  was  before,  or  a  blue  that  was  to 
carry  off  the  prize  in  a  public  competition,  while  the  plain  matter-of-fact 
man   of  business   was   appropriating  the   profits   of  his   one  great   discovery. 

He  was  back  in  Munich  in  iSo6,  full  of  a  new  scheme  that  was  more 
promising  than  the  \'iennese  speculations.  He  had  met  Baron  Aretin,  who 
suggested  setting  up  a  lithographic  establishment,  with  Senefelder  to  manage 
it.  Baron  Aretin  could  give  him  the  prestige  and  position  he  wanted  better 
than  the  calico  manufacturers  and  music  publishers  who  had  been  his  chief 
support.  Of  course,  at  the  critical  moment  something  went  wrong. 
Financially  the  enterprise  never  equalled  expectations  ;  but  it  had  another  sort 
of  success,  more  important  to  the  art  of  lithography,  if  not  to  Senefelder. 
Hitherto  Senefelder  had  thought  little  of  art  ;  but  the  Baron  proposed  the 
lithographing  of  drawings  and  pictures.  The  earliest  publication  of  note  from  his 
establishment  was  a  reproduction  of  Diirer's  Missal  of  jNIaximilian,'  the  original 
designs  being  those  of  the  copy  in  the  Royal  Library  at  Munich.  It  was 
published  in  iSoS.  The  lithographs,  drawn  apparently  on  stone  with  a  point, 
are  by  Strixner,  who  also  drew  for  it  the  portrait  of  Diirer  in  the  Pinakothek. 
There  was  a  foreword,  not  quite  filling  two  pages,  transferred  to  the  stone ; 
and  the  printing  was  done,  if  not  by  Senefelder,  at  least  under  his  supervision. 
Upon  the  title-page  of  a  copy  picked  up  in  a  second-hand  book-shop  not  far  from 
Charing  Cross,  is  the  autograph  of  B.  Hausmann,  the  well-known  authority 
upon  Diirer's  drawings,  who  has  given  it  as  his  opinion  that  this  publication, 
due  to  Baron  Aretin  and  Senefelder,  did  more  than  anything  else  to  make 
Diirer's  designs  known.  The  prints  are  fairly  good  ;  would  be  better  but  for  the 
attempt  to  print  each  in  a  different  colour .  greens  and  browns  being  some- 
times weak  and  pale.  Here  and  there,  though  not  often,  lines  are  rotten. 
De  Serres,  who  saw  them  during  his  visit  to  Munich,  thought  the  mistake 
was  to  have  drawn  them  with  a  point  instead  of  a  pen.  To  this  he 
'  Albrechl  Di'ircrs  Christluli  MyUiologischen  Haucheiciimiiigcii. 

21 


LITHOGRAPHY    AND    LITHOGRAPHERS 

attributed  a  certain  coldness  and  greyness.  The  preface  is  blurred  and 
indistinct,  an  indifferent  substitute  for  type.  But  the  volume  explains  that 
lithography  came  from  the  inventor's  shop  fully  equipped,  even  colour  having 
been  used  by  Senefelder.  It  is  the  first  important  work  produced  by 
lithography.  Other  books,  other  drawings,  followed.  The  resources  of  the  art 
were  revealed   with   each  new  attempt. 

To  see  this  work  all  Munich  rushed.  Aretin's  social  position  would  have 
warranted  the  rush.  Besides,  all  Munich  was  beginning  to  think  about  art, 
in  preparation  for  its  role  of  Modern  Athens  ;  Prince  Louis  of  Bavaria  having 
brought  back  in  his  baggage  from  Rome  the  passion  for  art — goilt  passioniiif, 
in  Mme.  Recamier's  words.  He  went  to  the  Aretin-Senefelder  establishment, 
actually  wrote  with  his  royal  hands  on  transfer  paper,  "  Lithography  is  one 
of  the  most  important  discoveries  of  the  eighteenth  century,"  and  his  royal 
sister,  also  on  transfer  paper,  says  the  e.\ulting  Senefelder,  "wrote  the 
expressive  words,  '  I  respect  the  Bavarians,'  which  I  transferred  in  their 
presence  to  the  stone,  and  took  impressions  from  it."  So  much  talk  about 
lithography  there  soon  was,  that  Senefelder's  shop,  and  at  times  his  brothers', 
by  mistake,  became  show  places  of  the  town.  During  the  occupation  of 
the  allied  armies  the  city  was  full  of  strangers :  Prince  Eugene  arriving  to 
marry  a  Bavarian  Princess  ;  Napoleon  honouring  the  ceremonies  with  his 
imperial  presence.  Maximilian  Joseph,  who  granted  the  privilege,  after  he 
had  shown  his  galleries,  would  exhibit  his  lithographers  :  "  I  cannot  let  you 
go  until  you  have  seen  an  invention  really  admirably  adapted  for  the 
draughtsman."  Some  saw  and  went  their  way  ;  others  procured  paper,  stone, 
and  chalk,  and  made  lithographs  ;  among  these  not  one  so  enthusiastic  as 
General  the  Baron  Lejeune,  of  Berthier's  division,  taken  to  the  workshop  of 
George  and  Theobald,  but  destined  by  his  drawing  of  a  Cossack  to  set 
fashionable   Parisians  posing  as  lithographers. 

To  Baron  Aretin  fashion  did  not  bring  fortune.  The  business  languished. 
At  the  end  of  four  years  he  had  had  enough  of  it.  Again  Senefelder's  indis- 
cretion was  held  to  blame.  The  fifteen  years  of  the  privilege  had  not  elapsed, 
but  Senefelder  had  talked  to  such  purpose  that  his  secret  was  public  property. 
His  brothers,  who  worked  with  Mitterer,  were  looked  upon  by  many  as  its 
lawful  proprietors.  The  partnership  was  dissolved,  and  for  Senefelder  the 
prospect  was  more  unpromising  than  ever.  He  was  almost  forced  to  apply 
to  former  pupils  for  employment  ;  the  press,  he  says,  abused  him  ;  when 
foreigners  would  help  him,  he  was  reproached  at  home.  But  toward  the  close 
of  1809,  just  when  he  was  all  but  in  despair,  he  was  appointed  Inspector  of 
the  Royal  Printing  Office  with  a  salary  of  1,500  florins  a  year.  The  work 
was  light,  the  income  a  fortune.  He  is  popularly  supposed  to  have  ended  his 
life  in  poverty  and  obscurity,  but  if  so  it  was  the  fault  of  his  extravagance ; 
for    not    only    did    he    enjoy    this    pension    for    more    than    twenty    years,    but, 

22 


F.  Hanfstangl. 
After  Van  der  Heist. 


THE    CELLINI    OF    LITHOGRAPHY 

according  to  Herr  Carl  Wagner,    his  biographer,   he  married,   the  second    time, 
a  prosperous  and   flourishing  lady  and  lived   happily  ever  after. 

The  principal  event  of  Senefelder's  life  after  this  was  the  publication  of 
his  Complete  Course  of  Lithogi'aphy  in  1818  as  proof  of  his  discovery.  For  so 
numerous  were  the  pretenders  that  he  was  forced  to  prove  it.  In  1810  Strohofer, 
an  apprentice  of  his  brothers',  published  in  Stuttgart  The  Secret  of  Lithogi'aphy,^ 
the  first  manual  on  the  subject.  It  deprived  Senefelder  of  the  right  to  his 
invention.-  Left  to  himself,  Senefelder  might  have  made  no  effort  to  con- 
tradict him  or  the  other  pretenders.  But  Frederick  von  Schlichtegroll,  Director 
of  the  Royal  Academy  in  Munich,  was  so  interested  in  lithography  that  he 
wrote  a  series  of  papers  o\\  the  subject  for  the  Advertiser  for  Arts  and  Rlann- 
factures,  a  Munich  weekly,  in  which  he  pointed  out  how  important  it  would 
be  to  have  an  authentic  record  of  the  origin  of  the  art,  to  remove  uncertainty, 
and  "  to  prepare  the  way  for  a  critical  history  of  the  new  art,  at  a  time  when 
it  was  still  possible  to  obtain  the  truth."  The  papers  began  to  appear  at  the 
end  of  1816,  and  were  continued  in  the  year  following.  Schlichtegroll  in 
them  addressed  himself  directly  to  Senefelder  and  called  upon  him  "not  to 
delay  any  longer  the  publication  of  a  minute  history  of  his  inventions,  accom- 
panied by  a  complete  course  of  instructions  on  lithography,  detailing  all  its 
branches  and  different  modes  of  application."  Senefelder  consented,  Schlich- 
tegroll wrote  an  interesting  Preface,  and  the  book  was  published  in  18 18  by 
Karl  Thienemann  in  Munich,  Karl  Ceroid  in  Vienna :  A  Complete  Course  of 
Lithography :  containing  Clear  and  Explicit  Instritctions  in  all  the  Different 
Branches  and  Manners   of  that  Art:   accompanied  by  Illustrative  Specimens  of 

'  Das  Gehciiiuiiss  dcs  Slciiuirucks  .  .  .  bcschricbcn  von  cinciii  Licbhaber  (Strohofer  and  Rapp, 
Tubingen,  1810).  Wagner  says  that  in  the  first  manual  on  the  subject,  apparently  another 
edition,  Rapp  speaks  of  Senefelder  as  the  inventor. 

=  As  an  example,  in  Germany  as  in  England  and  France,  of  the  desire  of  a  certain  set  to 
defraud  Senefelder  of  his  invention,  we  may  refer  to  the  Koniglich  Baierischer  Gemiilde-Saal  zu 
Mitnchen  and  Schlcifshciin  (Munich,  1817,  vol.  i.),  in  the  middle  of  which  the  portrait  of  Simon 
Schmidt  appears,  with  beneath  it  his  description  as  Erfindcr  der  Steindritckcrey.  Senefelder's 
book  was  published  the  next  year  in  Germany,  and  as  Strixner,  Piloty,  Schmidt,  Strohofer,  and 
Andre,  among  others,  must  have  been  still  living,  and  as  none  of  them  attempted  to  answer  it,  or 
dispute  his  history  once  he  had  recorded  it,  it  seems  clear  that,  for  some  unknown  reason,  these 
men  had  combined  together  to  deprive  Senefelder  of  the  credit  of  his  invention — probably  for 
business  purposes.  If  there  had  been  the  slightest  suggestion  of  right  on  their  side,  they  would 
have  annihilated  Senefelder.  But  though  he  lived  for  sixteen  years  afterwards,  these  people  and 
their  claims  were  never  heard  of  again.  It  is  useless,  therefore,  to  consider  or  to  discuss  them 
seriously.  In  England,  Hullmandel  endeavoured  through  the  Society  of  Arts,  in  i8ig  and  1820, 
to  claim,  if  not  the  invention,  the  advantages  for  himself ;  and  Hullmandel,  though  in  his 
papers  read  before  the  Society  he  never  mentions  Senefelder's  name,  stole  his  press  ;  and  as  late 
as  1824,  which  was  before  Senefelder's  death,  in  his  book  The  Art  of  Drawing  on  Stone,  trans- 
lated without  acknowledgment  from  Raucourt,  never  once  refers  to  him,  save  by  accident  in 
Raucourt's  preface,  which  he  also  appropriated  :  a  worthy  predecessor  of  many  modern 
historians  of  art.  Ackermann,  however,  defended  Senefelder,  and  the  Society  of  Arts  awarded 
him  their  gold  medal  for  his  invention  in  1819. 

25 


LITHOGRAPHY    AND    LITHOGRAPHERS 

Drawings,  to  zvhich  is  prefixed  a  History  of  Lithography  frovi  its  Origin  to 
the  Present  Time.^  This  elaborate  title  explains  the  scope  and  contents  of  the 
volume,  which  is  divided  into  two  parts — the  first  Senefelder's  story  of  his 
life  and  work,  the  second  his  practical  directions.  The  first  part  is  written 
with  frankness,  and  is  not  without  dignity.  It  is  impossible  to  question  its 
genuineness.  It  is  a  most  valuable  document  to  all  students  but  those  who, 
bewildered  by  facts,  are  never  happy  until  they  are  steering  straight  for  the 
mirage  of  theory,  or  the  quicksand  of  oblivion,  which  has  landed  more  than 
one  adventurer  in  the  law  court.  The  second  part  shows  that  Senefelder  left 
nothing,  or  next  to  nothing,  for  future  lithographers  to  do,  but  perfect  his 
methods.  The  use  of  steam,  the  application  of  photography,  and  the  working 
of  aluminium  plates  are  the  only  important  changes  since  his  time.  Not  only 
is  his  book  still  consulted  for  practical  details  by  those  who  know  it,  but 
every  handbook,  manual,  and  history  of  lithography  has  been  bodily  built  up 
out  of  it.  In  one  popular  modern  manual  even  Senefelder's  footnotes  are 
reinserted  as  the  compiler's  own. 

The  book  was  dedicated  by  permission  to  Maximilian  Joseph — "the  august 
protector  of  his  work  and  of  the  art  of  lithography,"  as  Senefelder  styles 
him.  It  was  translated  almost  at  once  into  English  and  French.-  The  English 
version,  retaining  the  Dedication,  was  published  by  Ackermann  in  the  Strand, 
in  1S19.  The  French  was  issued  in  Paris  by  Treuttel  and  Wiirtz,  of  Strasbourg, 
in  1S19,  and  was  dedicated  to  an  enlightened  nation  '' passionnde  pour  les  arts." 
It  was  this  work  that  sent  Senefelder  to  France  in  18 19,  his  Government 
duties  leaving  him  very  much  master  of  his  time.  His  pupil  Knecht  was  with 
him.  They  prepared  the  book  for  Treuttel  and  Wurtz,  and  a  studio  was 
taken  by  them  in  the  Rue  de  Lille.  Again  he  returned  in  1820,  when  his 
brothers  Theobald  and  Clement  accompanied  him.  Lithography  in  Paris  was 
in  the  first  freshness  and  gaiety  of  its  popularity,  and  Senefelder,  deluded  man 
that  he  ever  was,  thought  he  had  but  to  appear  to  be  hailed  as  lion  of  the 
day.  But  his  concern  was  for  his  new  portable  press,  his  wonderful  paper 
plates,  while  the  public,  excited  by  the  armies  and  battles  of  Vernet  and 
Charlet,  tickled  by  the  caricatures  of  Boilly  and  Travies,  cared  not  in  the  least 
to  hear  about  the  method  which  produced  them,  about  its  inventor,  or  the 
improvements  he  would  have  introduced.  Some  people  did  condescend  to  visit 
Senefelder  in  the  Rue  de  Lille,  and  in  his  second  house  in  the  Rue  Servan- 
doni  :  3  not  the  gay  ladies  who  danced  attendance  upon  Yivant  Denon  ;  not 
the    artists    kept   busy   by   Engelmann    and    Lasteyrie  ;    but   grave    Ministers    of 

'  Volhlciiidigcs  Lchrhnch  dcr  Stcindnickerci  (Miinchen,  1818),  it  is  to  be  noted  Stone  Painting 
and  not  Lithograph}^  appears  in  the  German  edition. 

'  Into  EngUsh  by  SchhchtegroU  ;   into  French  by  Knecht. 

3  In  Lorilleux  collection  at  Leipzig  already  referred  to.  His  letter  paper  bears  the 
address  Boulevard  Nouvelle  31,  Imprimerie  de  A.  Senefelder  &  Co.,  as  well  as  Rue 
Servandoni  13. 

26 


Bergeret  :  Mercury. 

The  first  French  Hthograph,  apparently  drawn  on  paper  and  transferred  to  stone. 
Printed  by  Senefelder,    1S04. 


THE    CELLINI    OF    LITHOGRAPHY 

State,    sedate    Ambassadors.       Their    patronage    was    more    honourable    than 
lucrative,  and  Senefelder's  affairs  languished  as  they  had  always  and  everywhere. 

From  Paris,  Knecht  must  have  made  a  trip  to  London,  for  there  is  in 
existence  a  lithographed  card  of  invitation  to  a  meeting  at  the  house  of  Messrs. 
Treuttel  &  Co.,  in  Soho  Square,  "to  view  the  operation  of  the  stone  paper, 
metal  plates,  and  portable  presses,  invented  by  Mr.  Aloys  Senefelder.  The 
meeting  will  commence  at  one  and  finish  at  four  o'clock."  The  year  is  not 
stated  and  the  card,  once  in  the  library  of  the  Victoria  and  Albert  Museum, 
has  disappeared.  The  invitation  is  signed  "  L.  Knecht."  The  metal  plates 
referred  to  are  probably  the  tin  or  zinc  plates  which  Senefelder  was  eager  to 
substitute  for  stone.  Of  these  inventions  nothing  came.  The  press  he  burnt 
one  day  in  a  fit  of  rage.  At  last,  after  unprofitable  years,  he  sold  out  to 
Knecht,  who  kept  the  name  Senefelder  &  Co.,  and  in  1831  was  able  to  retire 
with  a  nice  little  fortune. 

This  seems  to  have  ended  Senefelder's  active  career.  He  lived  to  see 
a  dozen  printers  and  more  flourishing  in  Paris;  Ackermann  and  Hullmandel 
prospering  in  London ;  Dalarmi  in  Milan  ;  Bruci  in  Barcelona ;  a  beginning 
made  in  New  York  by  Barnett  and  Doolittle.  But  though  the  wonders  of 
lithography  were  in  every  man's  mouth,  he  was  forgotten. 

He  died  on  February  24,  1834."  His  patron  Maximilian  Joseph  erected 
a  tombstone  to  his  memorv  in  Munich  ;  Bavarians  celebrated  the  hundredth 
anniversary  of  his  birth  ;  the  whole  world  commemorated  the  centennial  of 
his  invention  ;  statues  have  been  raised  in  his  honour.  But  the  true  monument 
to  his  genius  is  the  work  of  artist-lithographers.  The  splendour  of  their 
achievement  more  than  justifies  the  vagaries  and  vacillations  of  the  simple, 
shiftless  adventurer,  experimenting  in  his  workshop. 

'  la  connection  with  the  death  of  Senefeldei-,  and  his  portrait  publistied  in  this  book,  The 
Lithographer  (January  15,  1874,  p.  137)  tells  a  curious  story.  To  celebrate  the  anniversary  of  Sene- 
felder's birth,  his  portrait  by  Hanfstangl,  redrawn  on  MacClure  and  MacDonald's  autographic  pro- 
cess paper,  was  published  with  this  explanation  :  ''  It  is  copied  from  the  only  portrait  of  Senefelder 
ever  taken  from  life,  which  was  originally  drawn  on  stone  by  Mr.  Hanfstangl,  of  Munich,  an 
intimate  friend  of  Senefelder,  who  is  still  living.  There  is  a  special  interest  associated  with  this 
picture,  owing  to  the  following  curious  incident.  Senefelder  had  a  presentiment  that  if  any  one 
took  his  portrait,  his  decease  would  soon  follow.  Consequently,  he  could  never  be  persuaded  to 
have  it  done.  He  was  in  the  habit  of  visiting  Mr.  Hanfstangl  and  reading  the  newspaper  aloud, 
while  the  latter  was  at  work  drawing  on  the  lithographic  stone.  On  one  of  these  occasions 
Mr.  Hanfstangl  took  Senefelder's  portrait  on  a  prepared  stone  which  he  had  previously  concealed 
in  the  drawer  of  his  work-table,  distracting  his  attention  by  frequently  referring  to  a  portrait  of 
one  of  his  friends,  hung  near.  .  .  .  On  subsequently  having  shown  the  portrait  on  stone  to  some 
friends,  he  was  recommended  to  ask  Senefelder  to  give  him  a  sitting,  which  afterwards  he 
(Senefelder)  consented,  with  the  greatest  reluctance,  to  do.  He  had  not  sat  longer  than  half  an 
hour,  before  he  complained  of  feeling  unwell  and  cold,  and  began  to  button  his  coat  about  him, 
saying  that  he  must  go  home  at  once.  He  left,  went  to  his  bed,  and  died  three  days  afterwards,, 
thus  strangely  fulfilling  his  own  presentiment."  This  very  pretty  story  has  no  truth  in  it,  as  a 
number  of  portraits  were  made  during  his  lifetime. 


Fm^ 


R.   P.    BONNINGTON  :    RUE   DU    GROS-HoRLOGE   A    ROUEN. 
From  Baron  Taylor's  Voyages  Pittoresqites  dans  V Ancienne  France. 


THE    BIRTH    OF    THE 
ART    IN     FRANCE 


J.    T.    ChaRLET  :    TiREUKS    UE   LA    CuMPAGNIE   I.NFERXALE. 
Scratch  drawing. 


THE    BIRTH    OF    THE 
ART    IN     FRANCE 


CHAPTER    II 

IF  lithography  was  invented  in  Germany,  it  was  perfected  in  France. 
The  Institut  paid  more  than  an  empty  compliment  to  Engelmann,  the 
lithographer  of  Mulhouse  who  afterwards  came  to  Paris,  when  it 
declared  that,  though  Senefelder,  the  German,  discovered  the  new 
method,  Engelmann,  the  Frenchman,  proved  its  artistic  possibilities.  The 
French  were  the  first  to  recognize  the  value  of  lithography  as  a  means 
of  artistic  expression.  Again  and  again,  early  French  documents  point 
out  that  the  artist  is  sure  of  a  perfect  autographic  multiplication  of 
his  design  without  the  intervention  of  an  engraver.  Senefelder  always 
insisted  upon  this,  but  in  Germany  lithography  was,  from  the  start,  mainly 
commercial ;  only  a  few  artists,  Strixner  and  Piloty,  used  it  for  the 
reproduction  of  pictures.  Instead  of  the  music  that  came  from  the  German 
presses,  instead  of  the  copies  of  Old  Masters,  the  publication  of  original 
drawings  was  the  aim  of  French  artists  and  editors.  Had  lithography 
been  confined  to  Germany,  its  history  would  have  been  chiefly  industrial  and 
commercial;  if  to  England,  there  would  have  been  a  record,  not  of  a  continuous 
and  magnificent  movement  extending  over  many  years,  but  of  the  brilliant 
performances  of  a  few  men ;  Spain,  Austria,  Italy,  the  United  States  show 
few  artistic  results. 

There  was  small  promise  of  its  great  future  when  the  art  was  brought  to 
Paris.  As  early  as  1800,  while  Senefelder  was  in  Offenbach,  a  friend  of  his 
brothers',  Niedermayer  by  name,  was  invited  by  Pleyel,  a  publisher  of  music, 
to  set  up  a  lithographic  press  in  Paris.  The  Solenhofen  stones,  after  the  long 
journey  from  Bavaria,  so  increased  in  price,  while  they  lost  nothing  in  weight, 
that  the  expense  and  trouble  disheartened  Pleyel,  and  after  a  few  experiments 
the  press  stopped.  About  the  same  time  Frederick  Andre  started  in  the  Rue 
du  Pont-au-Choux.  In  1802  he  secured  his  patent  for  "  ime  nouvelle  manicre 
de  graver  et  dimprimer,  ou  zDipression  chwiiqice."  He  published  music  and 
drawings  of  animals  in  xhejardin  des  Plantes.  But  his  work  was  not  satisfactory. 
A  Madame  Revillon  seems  to  have  succeeded  him,  but  by  1S04  she  too  had 
abandoned  the  attempt,  though  in  the  same  year,  in  the  Rue  Saint  Sebastien, 
another  printing  office  had  been  opened.  For  this  Bergeret  drew  a  Mercury, 
which  in  the  Catalogue  of  the  Paris  Centenary  Exhibition  is  described  :  "Jusqud 
nouvelles  deconvertes,  cette  piece  exdcutde  en   1804  peut  Hi-e   considc^rce  conwic  la 

Z1 


LITHOGRAPHY    AND    LITHOGRAPHERS 

■bremiere  lithographie  artistique  f ran  false."  The  most  important  fact  is  that  it 
is  drawn  with  pen  on  paper,  covered  with  a  tint,  as  the  grain  of  the  paper 
can  be  seen  all  over  it,  and   it  must  have  been  transferred. 

During  the  next  few  years,  several  artists  tried  experiments :  Guyot- 
Desmares,  Schwebach,  Paroy  among  them.  Francois  Johannot,  father  of  Alfred 
and  Tony,  came  from  Offenbach  in  1806,  but  promptly  failed,  like  the  others. 
Duplat,  a  wood-engraver,  thought  to  improve  upon  Andre  by  engraving  upon 
stone  as  if  it  were  wood,  a  method  Senefelder  had  already  tried  as  he  had  tried 
every  other.  The  Sociitt^  d Encouragement  pour  I' Industrie  Nationale,  in  the 
fashion  these  matters  are  ordered  to-day  by  similar  societies,  ignored  Senefelder 
and  awarded  a  prize  of  2,000  francs  to  Duplat  for  his  supposed  discovery. 
Two  books  show  what  Duplat  could  do  with  his  stone  engraving :  Renouard's 
edition  oi  Les  Fables  de  La  Fontaine.,  published  in  181 1,  and  Les  Lettres  a  Emilie 
sur  la  Mythologie  in  181 2.  But  except  the  Socidtd  d Encouragement,  no  one 
heeded  him  or  his  labours.  In  other  shops  the  stone  was  engraved  with  the 
steel-engraver's   burin  or  etched  like  a  copper  plate. 

While  in  Paris  lithography  made  slow  progress,  in  Munich  it  was  attract- 
ing the  attention  of  many  Frenchmen  passing  through  the  Bavarian  capital. 
Colonel  Lomet  was  there  in  1806,  just  after  Austerlitz.  It  was  the  moment 
when  the  Aretin-Senefelder  partnership  was  forming,  and  Bavarian  fashion, 
led  by  royalty,  was  taking  lithography  under  its  protection.  Lomet  marvelled 
at  what  he  saw  ;  and  providing  himself  with  stones  and  chalk,  made  drawings, 
had  them  printed,  and,  in  1808,  carried  the  prints  to  Paris,  sure  that  Senefelder's 
method  would,  at  home,  as  already  in  Bavaria  and  Prussia,  be  of  use  for  maps 
and  plans.  Among  other  things  he  had  drawn  in  1807  was  the  figure  of  Jean 
Staininger,  of  the  long  trailing  beard,  that  decorates  the  tomb  at  Braunau- 
sur-l'Inn ;  a  careful  drawing,  though  weak  in  handling  and  colour,  of  that 
uniform  pale,  flat  grey  found  in  most  of  the  early  lithographs.  Despite  his 
zeal  and  his  display  of  proofs,  he  could  not  rouse  the  enthusiasm  of  any  official 
in  Paris.  He  produced  the  stone  from  which  five  thousand  prints  of  his  design 
had  been  pulled,  and  presented  it  to  the  director  of  the  Consei'vatoire  des  Arts 
et  Metiers,  M.  Molard.  Apparently  no  one  showed  the  slightest  interest,  and 
Lomet,  when  he  was  appointed  by  the  Emperor  to  a  post  in  Spain,  took  the 
stone  from  Molard,  and  left  it  in  the  Museum  of  Natural  History  in  the  Jardin 
des  Plantes,   where   it  is  possible  it  might  still  be   found. 

In  1806  General  the  Baron  Lejeune  also  was  in  Munich.  Lejeune  was 
an  amateur.  His  battle  pictures  later  on  made  a  talk  in  Paris,  where  even 
the  Vernets  could  not  rival  him  at  the  moment.  He  was  ready  to  leave 
Munich,  his  horses  already  harnessed,  when  a  stone  was  brought  him.  He 
sat  down  and  drew  his  Cossack,  and  in  half  an  hour  it  was  on  its  way  to 
the  printer's.  He  ate  his  dinner.  With  his  coffee,  a  hundred  proofs  of  his 
drawing   were    served.       It    was    like    magic,    for    there    was    his    design    as    he 

38 


W^^T^^^'T^^^,^f^'m  <'r^i^^ 


THE    BIRTH    OF    THE    ART    IN    FRANCE 

made  it,  neither  marred  nor  improved  by  an  engraver.  Upon  his  return 
to  Paris,  he  submitted  a  proof  to  the  Emperor,  and  suggested  the  intro- 
duction of  the  new  art  into  France,  where  it  had  already  been  introduced. 
Napoleon's  response  was  to  advise  further  investigation — the  amateur  as  critic. 
Lejeune  seems  to  have  consulted  Carl  Vernet,  David,  and  Vivant  Denon. 
Of  the  three,  Denon  alone  was  discouraging,  and  perhaps  he  alone  knew  that 
the  reason  of  Napoleon's  indifference  was  the  fear  that  the  forger  would 
profit  by  the  art  of  lithography.  But  when  Lejeune,  summoned  almost 
immediately  to  Spain,  came  back  in  1811,  he  found  Denon  converted,  and 
his  studio  a  meeting  place  for  the  fashionable  women  of  the  day,  who,  led 
by  the  Countess  jNIollien,  were  all  scribbling  away  on  paper  and  stone.  Litho- 
graphy had  become  the  thing,  as  bridge  and  the  tango  are  among  the  same 
class  to-day.  And  yet  we  are  so  much  better  educated  than  the  wTetched 
foreigner  of  one  hundred  years  ago. 

The  visit  of  the  Comte  de  Lasteyrie  to  Munich  in  1812  had,  ultimately, 
important  and  practical  results.  He  worked  two  or  three  months  in  the  shop 
as  an  apprentice,  and  tried  to  persuade  printers  to  return  with  him  and  start 
a  press  in  Paris.  He  made  other  attempts,  but  owing  to  the  troubled  state 
of  Europe  nothing  came  of  them  until  later.  During  this  visit,  however, 
he  mastered  the  technique  of  the  art. 

Engelmann  first  started  for  himself  in  IMulhouse,  where  some  of  his 
trial  proofs  are  preserved  in  the  Museum.  He  sent  a  number  of  e.\amples  of 
his  work  to  Paris,  showing  the  use  of  pen  and  chalk  and  wash,  the  way 
music  could  be  printed,  the  transferring  of  writing"  from  paper  to  stone, 
the  imitation  of  wood-engraving,  and  printing  on  canvas.  The  first  artists 
to  draw  for  him  were  Carl  Vernet,  then  well  over  si.xty ;  Regnault,  his 
old  master  ;  Girodet,  David's  pupil  :  all  three  at  the  height  of  their 
fame.  Engelmann  had  the  sense  to  know  that,  where  art  is  concerned, 
the  artist  is  the  best  workman.  The  Socidtd  d' Encouragement  complimented 
him,  and  assured  him  that  the  Socidt^  gave  him  full  and  entire  credit  for 
being  the  first  in  France  to  achieve  such  artistic  perfection.  The  Acaddmie 
des  Bcaiix-Arts  drew  up  a  report  of  peculiar  interest,  as  it  proves  that  the 
real  value  of  lithography  was  appreciated  in  F'rance  from  the  beginning. 
For,  after  a  short  history  of  the  invention,  and  a  technical  explanation,  it 
declares  that  lithography  accomplished  nothing  less  than  the  multiplication 
of  original  drawings,  which  was  Engelmann's  explanation  of  the  success 
of  lithography.  An  ingenious  inventor,  the  report  said,  had  offered  artists 
an  ink  and  a  pencil  with  which  they  could  make  their  drawings  so  that  these 
could  yield  thousands  of  copies,  and  lose  nothing  in  the  process.  It 
admitted  that  without  the  intervention  of  another  man  who,  whatever  his 
cleverness,  was  still  an  interpreter,  the  artist's  own  work  was  multiplied  as 
if  by    enchantment,    not    the    least    touch,    not    the    slightest  detail    lost    in    the 

41  c* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

print,  which  was  as  faithful  as  a  reflection  in  a  mirror.  The  Commission 
was  perhaps  unduly  impressed  by  the  ease  with  which  different  forms  of 
engraving  could  be  imitated  on  stone.  But  its  early  appreciation  of  the 
autographic  value  of  lithography  had  everything  to  do  with  arousing  the 
interest  of  French  artists  in  the  invention   of  Senefelder. 

Later  on,  Engelmann  removed  to  Paris,  and  started  a  shop  in  the 
Rue  Cassette,  No.  i8.  Another  shop  was  opened  by  Delpech,  first  at 
Sevres,  then  on  the  Quai  Voltaire.  On  the  cover  of  an  album  published 
by  him  about  1818  is  a  lithograph  by  Carl  Vernet  :  a  boy  with  a  fair- 
sized  stone  on  his  head  is  leaving  the  shop,  and  groups — a  woman  in  poke 
bonnet  and  men  in  broad-brimmed  hats — stand  spellbound  in  front  of  the 
windows  :  an  excellent  advertisement. 

Lasteyrie  busied  himself  with  the  printing  of  music,  playing-cards,  imita- 
tions of  wood  and  steel  engravings  and  etchings,  absurd  shams  for  a  time  in 
vogue.  He  published  a  series  of  copies  of  Greek  vases,  printed  in  two 
colours,  black  and  red,  a  practical  application  of  Senefelder's  invention  of 
chromo-lithography.  Artists  worked  with  him  :  Denon,  Baron  Gros, 
Hyppolite  Lecomte,  Bourgeois,  the  Vernets.  He  himself  produced  portraits, 
rather  hard  and  grey  and  lifeless.  But  his  house  in  the  Rue  du  Bac  was 
best  known  as  the  place  where  Society  played  at  lithography.  From 
him  Denon  sought  the  stones  for  his  pretty  portraits  so  popular  in  the 
fashionable  world  :  of  Mademoiselle  Esmenard  ;  of  the  Comtesse  Mollien  ;  of 
the  Prince  de  Beauvau  ;  of  Miss  Owenson,  the  English  beautv  to  whom  all 
Paris  lost  its  susceptible  heart ;  of  Lasteyrie,  clean-shaven,  curly-haired,  in 
high  stock ;  of  his  friend  Brunet — the  last  two  on  one  stone,  as  if  for 
economy.  And  Society  flocked  like  sheep  after  Denon  to  Lasteyrie's  for 
lithographic  materials.  A  typical  incident  of  a  period  when  everybody, 
from  Princesses  of  the  royal  house  to  Madame  Tallien,  from  generals  to 
diplomats,  condescended  to  the  sport,  is  told  of  the  company  staying  towards 
the  close  of  18 16  at  the  Chateau  de  Virry.  Madame  Perregaux,  wife  of 
a  banker,  was  entertaining  Madame  Recamier,  Madame  Moreau,  Madame 
Raguse,  Madame  Lallemand,  Denon,  Horace  Vernet,  in  such  high  favour 
at  Versailles  that  lesser  doors  opened  easily  to  him,  Delessert,  Freville,  Hulot. 
One  day  after  dinner  a  lithographic  stone  and  chalk  were  produced  by 
Madame  Perregaux,  and,  for  the  amusement  of  the  company,  Vernet  drew 
her  portrait,  prim,  stiff,  choked  with  voluminous  ruffles,  her  hair  a  mass  of 
heavy  puffs  upon  the  top  of  her  head,  ringlets  falling  on  either  side  of  her 
forehead  ;  the  drawing,  for  Vernet,  weak  and  hesitating.  But  the  company 
were  charmed  with  it.  The  stone  was  confided  to  Lasteyrie,  eleven  proofs 
pulled,  and  on  the  back  of  each,  printed  from  another  stone,  was 
the  statement  that  no  one  else  possessed  "  this  lithograph  of  Madame 
Perregaux,    made     at     Virry,    the     24th     of    November,     1816."     A    press    was 

42 


::s^:^^r 


A.    RaFFET  :    Il.S   GROGNAIENT   MAIS    LES   SL'IVAIEXT  TOUJOUKS. 


THE    BIRTH    OF    THE    ART    IN    FRANCE 

set  up  in  the  Tuileries.  The  Duchesse  de  Berri  sketched  on  the  stone,  as 
the  Due  de  Montpensier  had  years  before  during  his  exile  on  the  banks  of 
the  Thames.  Scarce  a  palace  or  hotel  was  without  its  press.  Some 
amateurs  held  exhibitions  in  their  salons.  Comte  Simeon  showed  the  Foire 
en  Transylvanie,  by  Lancedelly,  which  was  "printed  in  eleven  colours  and 
required  thirty-three  printings  for  each  proof."  This  was  the  Comte 
Simeon  who  haunted  by  preference  Senefelder's  shop  in  the  Rue  Servandoni, 
where  Ministers  of  State  and  foreign  Ambassadors  met  in  their  leisure  hours 
in  deference  to  the  royal  whim,  just  as  they  meet  at  the  National  Sporting 
Club  or  on  the  golf  links  in  these  days  of  refinement.  In  a  word,  the 
craze  erew  to  such  dimensions  that  when,  in  1818,  Mairet's  book  ^  on  the 
subject — the  first  that  appeared  in  France — was  issued,  there  was  as  great  a 
demand  for  it  as  for  Chateaubriand's  newest  work.  It  was  as  if  to-day  a 
treatise  on  process  could  compete  with  Hall  Caine. 

Engelmann  enjoyed  his  share  of  fashionable  and  royal  patronage.  A 
lithograph  of  a  later  date  shows  him  in  his  workshop,  receiving  Charles  X 
with  ceremony  in  a  large  apartment,  an  immaculate  printer  pulling  a  proof, 
the  proprietor  presenting  another  to  the  King.  But  his  real  work  was  the 
publication  of  music  and  drawing-books,  the  copying  of  manuscripts,  the  manu- 
facture of  the  box  cover  and  wrapper,  the  lithograph  of  commerce.  By  degrees 
he  attracted  artists  who  looked  upon  lithography  as  something  more  than  the 
plaything  it  was  to  Denon.  For  him,  Guerin  made  the  three  lithographs 
that  are  now  the  treasures  of  the  collector  :  Le  Paresscux,  Le  Vigilant, 
and  L' Anioitr  Couchd,  classical  exercises  prized  among  the  first  artistic  litho- 
graphs. J.  B.  Isabey,  Robert,  Baron  Atthalin  worked  for  him,  contributing 
largely,  he  thought,  to  the  progress  of  the  art.  He  interested  the  Government. 
A  lithographic  press  was  set  up  in  the  School  of  Fonts  et  Chaussics,  where 
Lomet  would  have  had  it  years  before,  and  Raucourt,  one  of  Engelmann's 
pupils,  was  put  in  charge.  Nor  did  Engelmann  cease  in  his  efforts  to  improve 
and  advance  lithography,  though  by  1S18  it  may  be  said  to  have  passed  from 
the  experimental  stage  and  its  pre-eminence  as  an  art  to  have  been  assured. 
Of  Engelmann's  labours  it  is  well  to  dispose  before  turning  to  the  work  of 
the  great  lithographers.  On  February  7,  1821,  the  Socidte  d! Encouragement 
reported  favourably  upon  his  procddc  du  /avis  lithographiqtte,  or  drawing  in 
wash.  Gaillot,  another  printer,  changed  Engelmann's  name  of  /avis  litho- 
gi'aphique  to  aquatinte  lithographique,  and  in  1824  prepared  a  manual  upon 
the  subject  and  issued  it  from  the  house  of  Senefelder.  In  1827  Bregeaut  in 
a  fresh  manual — the  town  was  flooded  with  text-books  for  a  while — accepted 
Gaillot  as  the  inventor.  But  the  truth  is  that  Senefelder  had  forestalled 
Engelmann,   Gaillot,    and    all    pretenders.      Engelmann's    object    was  to  see    if, 

'  Notice  siir  Id   Lilliographie  oil  I'Arl  d'hnpriincr  siir  Pierre.     Dijon  ;   1818.     First  published 
anonymously.      i\Iairet's  name  appears   in  the  edition   of  1824,  Chatillon-sur-Seine. 

45 


LITHOGRAPHY    AND    LITHOGRAPHERS 

by  wash,  he  might  get  delicate  tones  not  to  be  had  from  the  chalk,  the 
difficulty  of  producing  them  being  then  thought  a  fault  in  lithography  ;  a 
strange  fact  to  us  who  find  the  first  lithographs  deficient  in  strength  and 
richness  and  depth.  Engelmann  worked  with  Merimee  and  Baltard  to  perfect 
this  method,  but  eventually  he  admitted  that  artists,  familiarizing  themselves 
with  wash,  discovered  that  the  same  delicacy  could  be  obtained  with  chalk, 
and  his  invention  lost  its  importance.  He  was  honest  enough  to  confess 
that  Gaillot  had,  in  some  way,  improved  upon  him.  In  1838  the  Soci(fl(f 
d'Encouragei)icnt,  which  had  ten  years  earlier  offered  a  prize  of  2,000  francs 
for  a  lithograph  in  colour,  gave  it  to  Engelmann  ;  and  the  Socidtd  Industrielle 
of  Mulhouse  bestowed  upon  him  a  gold  medal.  The  year  before  he  had 
taken  out  a  patent  for  a  method  of  printing  in  colour,  chromo-lithography, 
which  he  appropriated  as  his  invention.  But  Senefelder  had  already  done 
what  Engelmann  was  so  proud  of  doing ;  though  the  name — chromo-litho- 
graphy— originated  with  Engelmann,  and  the  method  was  much  improved  by 
him.      Senefelder  had  left  nothing  for  the  lithographer  but  to  imitate  him. 

Engelmann's  career  is  a  contrast  to  Senefelder's.  He  was  not  successful 
to  the  end.  But  there  were  many  years  of  success  before  his  failure  in  1830, 
when  he  returned  to  Mulhouse.  Always  he  was  a  prominent  figure,  honoured 
in  Paris  and  abroad.  His  shop  was  a  centre  to  which  all  seeking  instruc- 
tion went,  most  notably  Bruci  of  Barcelona,  Madrazo,  Hullmandel  of 
London.  He  was  instrumental  in  establishing  lithographic  presses  in  Barce- 
lona, and,  at  the  invitation  of  Madrazo,  in  Madrid.  He  started  a  branch 
house  in  London  ;  Engelmann,  Graf,  and  Coindet  was  the  company,  and  the 
Hanharts  were  the  successors.  He  was  concerned  in  enterprises  in  Vienna, 
Berlin,  and  St.  Petersburg.  He  published  two  books,  a  manual  and  a  treatise;' 
the  latter,  like  Senefelder's,  gives  the  history  and  the  technical  explanation  of 
lithography.  It  contains  an  excellent  bibliography  of  early  works  on  the  subject, 
and  a  list  of  awards  for  inventions  and  improvements.  In  the  little  manual  is 
a  print  in  brown  and  black  and  white,  which  marks  probably  the  beginning 
of  his  work  in  colour.      The  other  illustrations  are   of  small  importance. 

No  one  contributed  more  than  Engelmann  to  the  development  of  litho- 
graphy. If  fortune  deserted  him  the  art  he  fostered  progressed  with  such 
strides  that  by  182S,  in  the  Department  of  the  Seine  alone,  there  were 
twenty-four  lithographic  establishments,  with  one  hundred  and  eighty 
presses,  giving  employment  to  five  hundred  people  and  producing  three 
million  francs'  worth  of  prints  of  one  kind  or  another.  When  Engelmann  died 
in  1839  he  had  lived  long  enough  to  see  some  of  the  greatest  lithographs 
that  have  ever  been  made,  to  know  that  throughout  the  civilized  world  he 
had  contributed  to  the  prosperity  and  popularity  of  the  art. 

'  Manuel   da   DcssinaUuir   Lithographe,    Paris,     1S22,    and    Traitc     TJu'on'qiie   cl    Praliqtte   tic 
Litliographie.     Mulhouse,  Paris  :  1839-40. 

46 


T.  Gericault  :  The  Boxers. 


THE    GREAT    PERIOD 
IN    FRANCE 


.aiiaia   3<1   Sl^OHr/^a    :  Y3aA?i   lY.iorA 


Eugene  Isabey  ;  Environs  de  Dieppe. 


i^v'^s^ps::  ■^i;.fM^ss3?s?3^^ 


THE    GREAT    PERIOD 
IN    FRANCE 


CHAPTER    III 

FOR  twenty  years  lithography  in  France  was  so  popular,  its  practice 
so  widespread,  and  its  results  so  splendid,  that  it  is  difficult  to  give 
a  complete  record.  In  England  and  Germany  a  few  names  exhaust 
the  list  of  artist-lithographers.  In  France  the  artist  who  did  not  use 
stone  was  the  exception.  The  new  art  fascinated  all  :  the  painter  who  made 
occasional  prints  and  the  draughtsmen  who  devoted  their  lives  to  lithography. 
And  their  prints  are  a  more  eloquent  history  of  the  artistic,  political,  and 
social  events  of  the  two  great  decades  of  the  art  than  any  written  chronicle, 
althouQ'h  the  makino-  of  these  events  into  literature  or  historv  was  never  the 
artists'   aim. 

The  number  of  lithographic  printers  increased  with  the  number  of  artists. 
To  the  three  firms  of  Engelmann,  Lasteyrie,  and  Delpech  were  added  the 
establishments  of  Gihaut,  Motte,  Villain,  Lemercier,  Bry,  and  others  in  Paris. 
Before  long  there  was  not  a  town  in  France  without  its  lithographic  press,, 
where  the  printing  was  as  good  as  in  the  capital.  Inventors  never  ceased 
inventing  methods  and  devices  that  had  been  invented  by  Senefelder.  Hand- 
books multiplied  ;  Knecht,  Mairet,  Bregeaut,  Raucourt,  Chevallier,  Langlume 
repeating  more  or  less  pompously  and  ponderously  what  Senefelder  had  said 
clearly  and  simply.  The  Socidt^  d' Encouragement  offered  prizes  and  bestowed 
rewards  for  anything  and  everything  the  lithographer  wanted,  or  did  not  want. 
Commerce  disputed  for  lithography  with  art,  the  lithographer  killed  the  metal 
engraver  by  cheapness,  and  the  greater  cheapness  of  Germany  and  the 
French  provinces  came  near  being  the  death  of  lithography. 

From  1S17  onward  prints  were  issued  by  thousands,  mostly  in  Albums, 
for  a  while  as  all-pervading  in  Paris  as  Keepsakes  in  England.  They 
were  usually  without  text  ;  half  the  time  without  dates ;  and  with  the  most 
wonderful  covers  adorned  by  copybook  lettering  and  flourishes,  the  ideal  of 
decorators.  They  multiplied  to  such  an  extent  that  Charlet,  in  the  design 
for  the  title  of  his  Album  of  1S25,  has  a  gay  litde  devil  running  off  with 
armfuls  of  prints,  and  underneath  the  legend,  Le  Diable  emporte  ks  A/bums. 
In  1830,  Achille  Deveria,  on  the  cover  of  another,  shows  the  poor  lithographer 
crushed  under  a  pile  of  albums. 

One  of  the  first,  and  still  the  most  ambitious,   of  all  publications  illustrated 
by    lithography,    in    France — or    in    the    world — was    a  serial  :    Baron    Taylor's 

53 


LITHOGRAPHY    AND    LITHOGRAPHERS 

Voyages     Pittoresqnes     et     Roinantigiics     dans    F  Ancienne    France,     in    which 
some    people    see    the    birth    of   Romanticism.      Tlie   first   volume,   published    by 
Didot,  appeared  in   1820,  and   the  work  was  planned  on  a  scale  only  possible 
in    an    enterprise    backed    by  the    State.      It    is    the    most    magnificently    monu- 
mental artistic  job  of  the  century,  a  glorified  version   of  the   English  Landscape 
Anmia/,    an    artistic    predecessor    of    Beautiful   England   and    books    of    the 
Picturesque    Europe    type.       The   idea    had  occurred   to    Baron   Taylor  in   18 10, 
when    the    expense    of   metal    engraving   put    it    out    of   the  question,    even    for 
the  State.     Then    Bourgeois,   one    of  the    first    to    draw    on    stone,    showed    his 
lithographs  to  the   Baron,  who  saw  in  this  new   method  the  means  of  realizing 
the  idea  which   occupied  him  for   the  rest  of  his   life.      For  a  while  the  results 
obtained  were  not  reliable  and  satisfactory  enough  to  warrant  the  undertaking. 
Not  until    18 1 8,   and,   he   says,  thanks    to    Engelmann,  could    he   venture    upon 
it.     But  so  promptly  did    he    then  go   to  work  that  the    first  parts  were  ready 
in   1820.     It  was  a   large  folio    of  text  and  drawings.     The  price  of  each  part 
was   twelve   francs  fifty  centimes,   the  number  of  parts  in  each   volume  varying, 
and  the  whole  was  to  cost  no  less    than  eight  thousand  six  hundred  and  fifty 
francs.      But    by     1847    the    expense     to     the     State    became    a    scandal    and 
it   was    pointed    out    that,   if   completed,   it  would   cost    two    million    and    a    half 
francs,    each    subscriber    would    be    called    upon    to    pay    thirty-three    thousand 
francs,  and  the  publication  would    run    through    one    hundred  and  three    years  ! 
Nineteen  volumes  were  issued,  and  the  work,  begun  in    1820,  dragged  on  into 
the  sixties. 

Charles    Nodier    and    De    Cailleux    were    Baron    Taylor's    literary    editors. 

The    illustrations,   Nodier  predicted    in    the    Preface  to    the  first  volume,  would 

be  a  record  of  the   discoveries  and  progress  of  lithography,  and  he   was  right. 

In  the  volumes   you  can  trace  the  development   of  the  art  from   the  first   pale, 

colourless  drawings,   and  the  first   tints  with   the   hard,   sharp  outlines  that  were 

the  despair  of  the  early  artists,  to  the  elaborate  designs,  the  difficult  lithotints, 

the  perfectly  managed  colour  at  the  end  ;  from  the   timid  separate  print   to  the 

amazingly     bad     and    elaborate    page     decorations,     flamboyant     borders,     with 

pictures     set    in    them,    that    filled     the    sections    on    Languedoc    and    Picardy, 

beginning    in    the    year   1833,   when    medisevalism    was    the    order    of   the    day. 

And    the    artists    who    contributed    were    the    men    who    made    lithography.      In 

the  first   volume  were    Baron  Atthalin,    Horace   Vernet,    Bourgeois,  pioneers  all 

three  of  them;  Baron  Taylor  himself;  Picot  ;   Daguerre,  it  is  amusing  to  note; 

Fragonard,    who  was  constantly  designing   "  romantic  "  subjects  for  Engelmann, 

Delpech,   and  Gihaut,  and   later   on    for  Ricourt  ;    Jean   Baptiste   Isabey.      And 

there    followed    in    quick    succession     men    of    the    distinction    of    Bonington, 

Eugene    Isabey,    Charlet,    Aubry-Lecomte,    Paul    Huet,    Gericault.     And    there 

was    Ingres    in    a    tail-piece,    one    of    his    four    lithographs,    two    of  the    others, 

portraits,    and  the    fourth,  his    Odalisque   in    Delpech's  Album   for    1826.      And 

54 


A.  Deveria  :   Portrait  of  R.  J.  Lemercier,  Founder  ok  Lemercier's  Printing  House. 


THE    GREAT    PERIOD    IN    FRANCE 

Delacroix,  too,  did  a  tail-piece,  and  Carl  Vernet,  and  Eugene  Deveria.  And 
there  were  borders  designed  or  lithographed  by  Tony  Johannot,  Celestin 
Nanteuil,  and  Viollet-le-Duc.  And  in  the  earliest  volumes  Prout  and  Harding 
found  a  place,  and  not  long  after,  Haghe  and  Boys,  more  frequently  than 
not  working  in  the  lithotint  to  which  Hullmandel  gave  his  name.  For 
France,  which  may  be  narrow  or  patriotic  enough  to  exclude  the  foreigner 
from  its  internal  or  political  economy,  has  never  recognized  nationality  in  art. 
Some  of  the  numbers  were  not  only  illustrated  by  Englishmen,  but  were 
printed  in  London  by  Day  and  Haghe.  It  should  be  remembered  that  this 
was  a  National,  a  Government  work.  But  the  Frenchman's  idea  of  art  is  not 
bounded  by  his  arrondissevient.  Job  as  the  book  was,  it  never  fell  into  the 
hand  of  the  local  genius,  supported  by  County  Councils.  Baron  Taylor  kept 
the  control,  and  entrusted  the  work  to  artists,  not  amateurs.  Until  the 
introduction  of  the  photo-lithograph  in  1863  the  excellence  of  the  illustration 
was  more  or  less  sustained.  The  latest  prints  may  not  have  for  us  the 
interest  of  the  first,  but  the  drawings  of  Ciceri,  Sabatier,  Villeneuve,  Bichebois, 
Dauzats,  Chapuy,  Emile  Sagot,  and  Blanchard  are  the  work  of  accomplished 
draughtsmen.  Ciceri  and  Sabatier,  sometimes  collaborating,  sometimes  separ- 
ately, showed  that  they  could  not  only  see  and  express  the  romance  of 
Dauphine,  but  that  they  could  use  a  tint  to  the  finest  purpose.  It  is  suggestive 
to  compare  the  tint  work  of  1820  with  the  technical  masterpieces  of  1S40 
and   thereabouts. 

The  average  was  so  high  that  Bonington's  prints  do  not  seem  as  supreme 
as  one  would  expect  from  the  praise  of  his  contemporaries,  Delacroix  among 
them.  His  Rue  du  Gros-Horloge  a  Rouen,  the  most  famous,  came  out  in 
1825,  and  it  is,  save  technically,  much  overrated  ;  the  others,  mostly  in 
Normandy,  followed  quickly  ;  and  two  years  later  his  work  ended  with  his 
death.  The  gems  of  the  collection  are  the  drawings  of  Eugene  Isabey. 
M.  Beraldi  says  that  if  Bonington  had  not  made  his  Gros  Ho^doge,  Isabey 
would  be  a  lithographer  without  rival.  But  Bonington  never  equalled  Isabey's 
Saint  Jean  a  Thiers,  the  Chateau  de  Chaudesaignes,  the  Chateau  de  Polignac. 
The  way  he  could  seize  the  most  pictorial  point  of  view,  using  chalk,  stump, 
scraper,  or  wash  to  work  up  his  design  until  one  hardly  knows  how  his  eftect 
has  been  obtained,  is  marvellous.  It  is  a  matter  of  regret  that  he  did  not 
give  more  time  to  lithography.  In  the  same  year  (1833)  that  Saint  Jean  a 
Thiers,  the  little  town  piling  up  picturesquely  on  the  high  cliffs,  was  issued  in 
Baron  Taylor's  book,  his  Six  Marines  dessint'es  sur  Pierre  was  published  by 
Morlot  and  Lan  ;  studies  of  shipping  and  coast  towns,  full  of  life  and  move- 
ment, which  must  be  ranked  above  his  work  in  the  Voyages  Romantiq^ies. 
These  are  the  finest  things  of  their  kind  that  have  been  done  in  lithography. 
In  1S32  the  Souvenirs  d'Eugene  Isabey  was  brought  out  in  Paris,  London, 
and    New  York.      Mr.    Atherton    Curtis,    who    has    shown    a    keen    appreciation 

57 


LITHOGRAPHY    AND    LITHOGRAPHERS 

of  Isabey,  and  who  knows  more  about  him  than  the  French  authorities,  gives 
the  number  of  his  prints  as  less  than  sixty,  but  adds  that  their  artistic 
excellence  places  him  among  the  six  or  seven  great  lithographers.  Isabey,  in 
his  lithographs,  even  more  than  in  his  paintings,  was  the  exponent  of 
Romanticism.  No  one  has  expressed  more  powerfully  the  waves  of  the  sea, 
the  fury  of  the  winds,  or  the  tragedy  of  the  wrecks,  than  in  the  dramatic 
Brick  Echoiid;  no  one  has  made  more  perfect  lithographs  than  these, 
in  which  he  has  carried  his  chalk  drawing  to  such  a  degree  of  perfection 
that  he  has  given  with  it  the  effect  of  wash.  No  one  has  suggested  more 
sympathetically  the  picturesqueness  of  the  fishing  villages  along  the  shores  than 
in  his  EtiviTons  de  Dieppe.  And  he  was  never  so  engrossed  by  his  emotion 
or  his  subject  as  to  be  indifferent  to  technique.  He  has  left  not  one  print 
the   student  can   afford   to   overlook. 

Naturally,  Baron  Taylor's  book  inspired  numerous  collections  of  picturesque 
views,  though  none  on  such  lavish  scale,  from  Bonington's  Petite  Norinandie 
to  Deroy's  Vues  Prises  en  Italie  twenty  years  later,  with  a  long  series  con- 
necting the  two.  Amateurs  went  forth  in  search  of  the  picturesque  and  pub- 
lished the  results.  None  of  these  publications,  however,  could  compete  with 
a  State-supported  enterprise,  and  the  Voyages  Pittoresques  remains  the  type 
of  all   works  of  the  kind. 

The  Napoleonic  Legend,  as  the  French  call  the  mass  of  pictured  and 
written  reminiscences  and  stories  and  myths  that  grew  up  about  the  memory 
of  Napoleon,  never  raised  such  another  monument  as  Baron  Taylor's  book, 
but  it  inspired  a  countless  number  of  prints  and  series  and  albums.  From 
the  beginning  Carl  and  Horace  Vernet  were  drawing  soldiers.  Horace  Vernet's 
lithograph  of  his  father,  in  1818,  shows  the  old  man,  his  hat  off,  hard  at  work 
sketching  a  passing  group  of  Hussars.  But  to  Horace,  who  in  181 7  drew  his 
first  Napoleon  on  stone,  is  given  the  honour  of  having  originated  the  Legend. 
His  Napoleon  was  never  a  very  heroic  figure,  but  it  sufficed  to  revive  old 
enthusiasm,  and,  as  La  Farge  once  said,  many  of  his  rapid  sketches  in  chalk 
are  as  full  as  his  big  and  illustrious  pictures  are  empty.  His  military 
anecdotes  often  have  decided  humour  or  sentiment,  after  a  fashion.  A  pig  in 
shako  and  boots  and  cloak  presented  as  a  new  recruit,  looters  breaking  into 
a  lady's  wardrobe  in  search  of  fodder,  a  poor  little  soldier  offering  to  his 
corporal  a  canary  in  its  cage  as  a  share  of  the  booty,  are  simple  jests  sure 
to  please  the  public.  His  great  work  was  the  Uniforincs  des  Ai-mees 
Fraiifaises,  in  collaboration  with  Eugene  Lami,  published  by  Gide  in  1822. 
It  contained  one  hundred  prints,  and,  like  many  of  the  early  albums,  was  in 
colour.  It  was  a  mine  of  information  for  men  who  came  after,  and  very 
likely  suggested  Menzel's  series  of  the  Uniforms  of  the  Army  of  Frederick  the 
Great.  Lami  was  as  good  a  draughtsman  as  Vernet,  and  his  work  had  more 
individuality.       Not    so   much  his   early  work,    the    big,   grey,    weak    lithographs 

58 


THE    GREAT    PERIOD    IN    FRANCE 

elated  1S17,  181S,  and  signed  "Eugene,"  as  the  elaborated  designs  of  his 
more  matured  period,  especially  his  drawings  of  Street  Barricades  in  the 
Revolution  of  1S30,  which  have  all  the  action,  the  go,  of  Charlet  or  Raffet. 
But  Lami  is  best  known  for  his  records  of  everyday  life — of  "  modernity,"  to 
use  Baudelaire's  word:  his  Souvenirs  de  Londres  (1826),  his  Six  Quarliers  de 
Paris  (1827),  his  Vie  de  Chdieau  (1S28);  notes,  chiefly,  of  a  world  to  which 
he  always  aspired,  Lami  being  something  of  a  snob,  a  dandy,  an  Anglo- 
maniac  ;  all  these  done  in  pen  and  ink,  and  coloured  by  hand  in  the  fashion 
of  the  time. 

A    score    of  other    men    made    lithographs    of   Napoleon    and    the    Grande 

Armde :    Gericault,    whose    big   grey    Canonniers    de    la    Garde   Impcriale  dates 

back    to     1818,    but    most    of  whose    hundred    lithographs    had    the    horse    for 

subject ;   Marlet,  as  sprightly  and  young  an  old  man  as  Carl  Vernet  ;  Vigneron  ; 

Hyppolite    Lecomte ;    Bellange,    and    Victor    Adam.        Even    Daumier    made    a 

short   excursion  into  the  field  of  Napoleonic   Legend.      But  Charlet  and   Raffet 

were  the  two  who  developed  and  perfected  the  work  begun  by  Horace  Vernet. 

Delacroix     thought     that     Charlet,     "one    of    the    greatest    men    of    our 

country,"  was   not  sufficiently  appreciated  :  a  statue   would  never  be  put  up  to 

a    man  who    had   done  nothing  but  play  with  a  little  bit  of   pencil  and    make 

litde     figures.      But    Charlet    had    small    reason    to    complain.     If    Engelmann, 

and    Lasteyrie,    and    Motte,    who    brought    out   his    first  drawings    of    soldiers, 

grey,   pale    dummies,   posing  in   uniform,   were  afraid  of  Charlet  so   long  as  he 

was  a  new   man   to  be  launched,   from   the  time  Gihaut   published   the  Reciieil 

de  Croquis  a  I' Usage  des  Petits  Enfants  \x\  1822  his  success  and  popularity  were 

assured.      His    yearly    album    after   this    appeared    with    the    regularity    of    the 

Christmas     number.      Sometimes    it    took   the     form     of    a    drawing-book,    with 

primitive  landscapes  and  fairly  good  figures  in  pen-and-ink,  for  his  pupils  (1839)  ; 

sometimes    of    a    collection    of    Croquis   a    la    Maniere    Noire,    dedicated    to 

Beranger  (1840).      But  as  a   rule  the  soldier  was  his  subject.      It  was  he   who 

deified    Napoleon    and    canonized    the    Army.     The    last    lithograph    he    made, 

the    day    before    his    death,    was    of    Napoleon    as    General-in-Chief  in    Italy. 

His    soldiers    have    all    the    bravery,    the    splendour,    the    glory    of    Napoleon's 

veterans,    and    all    the   wit,    the    gaiety,    the    absurdity    of  the    Petits  Pioupious 

still    singing     away    their    fatigue     on    a    long    day's   march,    or    loafing    about 

the    parks    and    streets    of  the   garrison    town.     They    sweep    across    his    paper 

in  lines    and   battalions    and    masses,    making    the    mad    charge    or    beating    the 

disordered    retreat,    and    on    the    few    inches    of  printed    surface    he    gives    the 

movement    and    confusion    and    fury    of   the    scene.      His     were    drawings  the 

people  could  love  and  understand.      If  his  sentiment  was  simple,  his  technique 

was    fine,    all   were  done   with   a   style   that  compels    admiration.      Had    Charlet 

relied     upon    the     text    below     his    drawing     his    fame    would    have    perished 

with    the    generation    that    laughed    and    cried    at    his    bidding.     It    would  have 

61 


LITHOGRAPHY    AND    LITHOGRAPHERS 

been  of  no  more  lasting  universal  value  than  that  of  Cruikshank  or  Leech. 
He  drew  in  chalk,  in  wash,  with  a  stump ;  he  scraped,  he  tried  a  pen  ;  and 
nothing  in  the  whole  range  of  his  work  is  so  delightful  technicall)''  as  his 
prints  in  the  vianicre  noire,  as  the  French  call  the  method  of  scraping  the 
design  on  a  stone  covered  with  ink.  Some  of  these  have  a  depth  of  colour, 
a  suggestion   of  mystery  not  found  in  his  chalk   work. 

Raffet  is  at  present  better  known  than  Charlet,  whose  pupil  he  was. 
At  first  Raffet — who  was  contributing  to  an  album  in  1825 — and  pub- 
lishing one  of  his  own  through  Moyon  in  1827 — worked  much  in  the 
manner  of  Charlet  ;  it  is  hard  to  distinguish  the  pupil's  prints  from  the 
master's.  But  by  degrees  he  developed  a  style  of  his  own.  His 
Napoleon,  whether  the  slight,  long-haired  youth  of  Directory  days,  or  the 
short,  fat  Emperor,  is  more  theatrical  than  Charlet's  Little  Corporal  in  the 
cocked  hat.  Sometimes  allegorical  figures  float  into  Raffet's  compositions, 
where  they  are  decidedly  out  of  place.  Like  Charlet,  he  published  album  after 
album.  He  followed  the  Army  through  the  Directory,  the  Consulate,  the 
Empire.  He  recorded  the  Siege  de  la  Citadelle  d Anvers  (1834),  the  Retraite 
de  Constantine,  the  Expedition  de  Rome  (1849).  He  made  a  study  of  uniforms. 
He  chronicled  the  humours  of  the  camp,  and  is  then  most  like  Charlet.  He 
tried  his  hand  at  caricature.  He  illustrated  Scott  or  Scotch  subjects.  He 
journeyed  through  Eastern  Europe  :  Voyages  dans  la  Riissie  JMeridionale  et  la 
Ci'imee,  par  la  Hongrie,  la  Valachie  et  la  Moldavie,  et  retonr  par  Constantinople 
(1838-48).  Altogether,  he  did  an  incredible  amount  of  work.  He  had 
intervals  of  commonplace,  and  it  is  not  good  to  go  through  many  of  his 
albums  at  a  sitting;  but  he  had  intervals  of  inspiration.  He  rendered  the 
mystery  of  the  battlefield,  the  tragedy  of  war,  as  have  few  others.  The  smoke 
of  battle  for  him  was  as  full  of  poetic  possibilities  as  a  fog  of  London.  Prints 
like  the  impressive  Revite  Noctiirnc,  the  R&ueil,  the  drdimdiixc  lis  grognaient  mais 
les  suivaient  toiijoni's,  linger  in  the  memory,  where  the  big  pretentious  battle- 
paintings  of  his  contemporaries  are  forgotten.  The  feeling,  the  dramatic  force 
of  the  Revue  Nocturne,  are  unsurpassed  in  lithography.  And  Raffet  steered 
clear  of  the  sentiment  that  is  so  maudlin  and  tedious  in  many  of  Charlet's 
series.  Most  of  his  work  is  in  chalk,  but  he  too  tried  almost  every  other 
method  ;  he  drew  with  brush,  stump,  pen  ;  he  made  lithotints,  and  the 
washes  in  the  print  are  crisp  and  clean  as  in  water-colour ;  he  often 
used  paper.  It  is  not  always  possible  to  tell  when  the  lithographers  of 
his  generation  did  use  paper,  unless  they  say  so.  In  Rafifet's  case  the  fact 
was  noted  because  several  of  his  experiments  were  for  the  printer  Bry,  his 
father-in-law,  who  wanted  the  artist's  name  to  advertise  paper  of  his  own 
invention.' 

'  Coslitiiies  Militaircs  Franfais  cl  Etraugers,  Portraits  ct  Siijcts  Divers,  Lithographies  an  Crayon, 
an  Lavis,  a  VEsioinpe  ct  siir  Papier.     Auguste  Bry  :    i860. 

62 


ir¥  f  ^  -^  i"!  :i  -iF'f  m^m-^mm^^-^M^-^^^^^7,  f .-t-t':-  -t 


Gavarxi  :  Portraits  of  E.  and  J.  ue  Goxcourt. 


THE    GREAT    PERIOD    IN    FRANCE 

The  lithographs  of  social  and  political  subjects  begin  as  early  and 
extend  over  as  long  a  period  as  the  Napoleonic  Legend.  In  1817  the 
people,  who  were  worshipping  Horace  Vernet's  Napoleon,  were  also  roaring 
over  the  famous  Calicot,  created  by  Vigneron,  Guillot,  and  half  a  dozen 
others  :  the  unfortunate  counter-jumper  who  ventured  to  play  the  swell  and 
to  carry  his  spurs  into  the  shop.  Carl  Vernet — there  was  nothing  he  did 
not  do — used  the  new  medium  to  caricature  the  Allies  in  Paris,  as  of  old  he 
had  ridiculed  the  Merveilletises  and  Incroyables  of  the  Directory.  Early  in 
the  twenties  he  was  illustrating  the  Cris  de  Paris,  single  figures  drawn  in 
chalk,  coloured  by  hand,  stiff  in  drawing,  muddy  in  colour.  Bosio  and  Jean 
Baptiste  Isabey  made  caricatures.  Boilly  too  flooded  the  town  with  popular 
types,  studies  of  hunchbacks  in  the  spirit  of  Mayeux,  beggars,  Savoyards ; 
his  Recueil  de  Dessins  Lithographiqjics,  from  the  house  of  Delpech,  belongs 
to  the  year  1822  ;  his  Epoitx  Heiireiix  to  1826  ;  his  Sept  Sujets  Moratix  to 
1828.  His  interest  for  us  is  technical;  his  drawing  is  dry  and  tedious, 
but  it  is  astonishing  to  see  how  the  colour  in  his  lithographs  has  preserved 
its  freshness  and  brilliancy.      Most  of  it,   of  course,   was  by  hand. 

Gericault's  hundred  lithographs  were  made  before  1830.  His  first  album, 
Various  Subjects  drawn  from  Life  and  on  St07ie,  was  published  in  1821,  by 
Rodwell  and  Martin,  of  New  Bond  Street,  London.  Hullmandel  was  the 
printer.  The  title  on  the  cover  is  introduced  into  a  design  by  Gericault 
representing  a  sandwichman  with  an  advertisement  of  the  artist's  unsuccessful 
picture  the  Shipivreck  of  the  Medusa.  The  subjects  are  mostly  English  —  the 
English  Farrier,  the  Adelphi  Arch,  the  Coal  Waggon,  the  Beggar  at  the 
Bakers  Door,  the  Piper.  This  portfolio  is  interesting  both  technically  and 
historically.  M.  Bouchot,  and  French  authorities  following  him,  state  that 
some  of  the  prints  were  done  on  stone  paper,  the  invention  of  Senefelder. 
No  such  statement  is  in  the  portfolio,  nor  on  the  prints  at  the  Bibliothcque 
Nationale,  where,  however,  there  is  a  print,  a  drawing  in  pen-and-ink,  of  a 
woman  and  children,  rather  weak  and  pale,  on  which  is  written,  evidently 
by  the  artist,  "  Drawn  on  stone-paper,"  and  in  the  opposite  corner,  "  Printed 
by  Marc-Gazca,  10,  Radcliffe  Row,  City  Road."  Evidently  Gericault  was 
experimenting  with  Senefelder's  latest  invention.  Several  of  the  English  series 
were  copied  by  Coignet  from  the  prints.  Consequently  the  lithographs  printed 
in  Paris,  though  about  the  same  size  and  scarcely  varying  in  effect,  are  the 
reverse  of  those  published  in  England.  The  English  are  signed  Gdricault 
del.,  and  the  French  ones  Gericault  invt.  The  badness  of  English  printing- 
does  not  account  for  the  change  in  the  series,  in  this  case  the  English  printing 
being  much  better  than  the  French.  It  is  more  likely  that  Gericault  had  had  a 
disagreement  with  his  English  publishers.  Other  series  were  for  Gihaut,  Engel- 
mann,  and  Mme.  Hulin  :  principally  studies  of  horses.  In  1823  Gericault,  with 
Lami,  illustrated  Byron   for  Gihaut.      His  lithographs  were  done   in  all  sorts  of 


LITHOGRAPHY    AND    LITHOGRAPHERS 

ways.  At  the  British  Museum  there  is  a  curious  print  of  a  man  carrying  a  banner 
that  loolcs  liive  a  copy  of  Franz  Hals,  in  which  the  effect  is  got  by  scraping. 
Many  scarcely  justify  Gericault's  tremendous  reputation.  Many  are  full  of  vigour 
and  vitality,  even  of  the  brutality  it  is  the  correct  thing  t;)  find  in  them  ;  the 
Coal  Waggon,  for  example,  the  Adelphi  Arch,  or,  more  than  all,  the  Boxers, 
printed  by  Motte,  with  its  fine  study  and  expression  of  character,  its 
uncompromising  realism,  its  technical  ingenuity ;  the  body  of  the  black 
man  being  rendered  in  pen-and-ink,  while  all  the  rest  is  in  chalk,  except  for 
the  pen  lines  in  the  white  man's  trousers.  Albums  of  lithographs  after 
G(5ricault's  paintings  and  drawings,  some  by  Deveria  and  Louis  Boulanger, 
were  published  as  early  as    1825. 

In  the  same  decade  Henry  Monnier  was  producing  his  impressions  of 
London  in  Postilions  et  Cockers  and  Croqiiis  (1825  and  1826),  and  of  Paris 
in  Six  Ouarticrs  de  Paris  and  Vues  de  Paris  (1828  and  1829).  Many  of  his 
albums,  like  so  much  French  work,  were  published  in  both  cities,  with  the 
legend  given  in  French  and  English.  The  lithographs  for  most  of  these 
series  are  in  pen-and-ink,  and  coloured  by  hand.  Monnier  found  his  subjects 
in  the  calicot,  in  the  grisette,  and  in  the  little  clerk,  in  the  lawyer,  in  the 
boii7geois — his  immortal  M.  Joseph  Prudhomme,  the  type  of  consequential,  fatuous, 
self-satisfied,  respectable  mediocrity,  with  Mayeux  and  Robert  Macaire,  rivals 
Napoleon  as  the  people's  hero.  Grandville,  too,  was  commencing  his  study  of 
the  bourgeois  and  his  tiresome  series  of  animals  masquerading  as  men,  his 
sheep-headed  clerks,  his  parrot  barbers,  his  bulldog  policemen.  In  1829  his 
Metamorphoses  du  Jotw  had  a  prodigious  success,  and  his  Voyage  ponr 
r Eternity  saw  the  light.  Pigal  was  flinging  his  jests  at  the  working  class. 
Travies  was  creating  Mayeux.  Gavarni  was  starting  with  his  R^crdations 
diabolico-fatitasmagoriques,  and  was  working  for  La  Mode,  Emile  Girardin's 
sheet,  before  1830,  before  Philipon  had  founded  La  Caricatiwe  and  Le  Charivari, 
the  papers  with  which  the  names  of  these  men  are  so  intimately  associated. 
And  publishers  were  flooding  town  and  provinces  with  diableries  of  the  same 
kind,  with  singeries  and  petitcs  niaccdoines,  with  single  prints  either  plain  or 
coloured  by  the  artist  ;  in  a  word,  with  all  the  Nouveattti's  Lithographiques 
which  were  the  chief  attraction  of  Monsieur  Aubert's  Portfolios  and  weekly 
announcements. 

The  work  of  Goya  had  begun  to  appear,  and  Goya  had  more  influence 
on  the  art — the  technique — of  lithography  in  France  than  any  Frenchman. 
In  1824  Motte  published  the  Caricatures  Espagnoles  after  Goya;  in  1S25 
the  Bull  Fights  followed.  To  their  appearance  M.  Beraldi  dates  what  he 
calls  the  second  flowering  of  lithography — la  floraison  des  roniantiqiies,  des 
lithographes  coloristes,  des  peintres  de  1830 — the  artists  most  intimately  con- 
nected with  L'Artiste.  Louis  Boulanger  went  so  far  as  to  pay  Goya  the 
compliment  of  borrowing  groups   bodily  out  of   the    Caricatures   for   the  Ronde 

66 


Gavakm  :    Lk  Bal  Masque. 


THE    GREAT    PERIOD    IN    FRANCE 

dit  Sabbat,  a  huge  lithograph  that  was  a  seven  clays'  wonder  in  the  studios. 
Eueene  Delacroix,  about  whom  all  le  jatne  France  rallied,  began  to  turn  his 
attention  seriously  to  lithography.  Delacroix  never  made  two  ends  meet  in 
his  lithographic  adventures,  but  the  effect  of  his  example  upon  the  younger 
generation  is  not  to  be  over-estimated.  He  had  already  done  a  few  insig- 
nificant prints,  some  of  them  feeble  caricatures,  for  Le  JMiroir  and  other 
sheets.  But  his  great  work  came  after  his  study  of  Goya.  In  1825  his 
print  of  Macbeth  and  the  Witches,  full  of  strong  colour  and  gloom  and 
romance,  marked  the  change.  In  1828  Motte  published  his  famous  series 
of  seventeen  lithographs  illustrating  Faust,  which  gained  for  him,  so  he  says, 
a  reputation  as  leader  of  U I^cole  du  Laid.  They  frightened  the  bom-geois  so 
effectually  that  they  did  not  sell.  Delacroix  thought  the  text  that  Motte 
printed  with  them  was  responsible,  but  a  better  reason  is  the  De  Goncourts" 
description,  ''  Ics  poses  tordues  et  les  epilepsies  de  main."  Goethe  was  satisfied,, 
but  this  does  not  mean  much  more  than  when  the  poet  to-day  happens  tO' 
express  satisfaction  with  the  illustrator  of  his  verse.  However,  despite  their 
affectation,  despite  their  self-conscious  romanticism,  these  illustrations  to  Fatist 
are  as  powerful  and  dramatic  as  anything  that  had  yet  been  done  in  French 
lithography,  and  in  a  fine  set  of  prints — the  printing  varies  considerably^ 
are  full  of  richness  of  colour,  scrength,  originality  of  treatment.  To  the  same 
period  belong  two  of  the  most  celebrated  e.xamples  of  lithography — The  Lion 
Devouring  his  Prey,  Lion  de  r Atlas  (1829)  and  the  Tiger,  Tigre  Royal 
(1829)  :  impressive  and  terrible  as  drawings,  marvellous  as  lithographs,  such 
fine  quality,  such  beautiful  depth  in  the  shadows,  such  subtle  variety  in  the 
blacks  did  Delacroix  get  out  of  the  stone.  His  later  work  is  not  so 
remarkable.  The  seven  prints  for  GaHz  de  Berlichingen  and  the  thirteen  for 
ILamlet  (1832-43)  have  not  the  force  of  the  Fanst  series,  the  dignity  of  the 
Lion  and  the  Tiger.  The  stones  for  LLainlet,  which  were  not  destroyed,  were 
framed  as  pictures  by  an  admirer  of  Delacroix.  But  at  the  time  so  friendly 
a  paper  as  L' Artiste  could  not  but  express  disappointment  ;  Delacroix  would 
have  to  do  wonders  in  the  Chamber  of  Deputies  and  the  Church  of  St.  Denis, 
it  said,  to  remove  the  impression  made  by  "  ce  qtion  appelle  voire  Hamlet.'' 
His  masterpieces  remain,  however,  and  in  the  years  between  their  publication 
and  that  of  his  LLamlet  the  stvle  of  the  greater  number  of  French  litho- 
graphers  had  been  formed  or  modified  by  the  example  of  Delacroix,  who, 
in  lithography,  was  the  pupil  of  Goya. 

Most  lithographs  up  to  this  time  had  been  in  chalk  or  in  pen-and- 
ink  intended  often  to  be  coloured  by  hand.  But  now  tone  and  wash  were 
perfected.  By  1830  Motte  was  getting  artists  to  work  in  la  nianiere  noire, 
mezzotint  applied  to  stone.  Achille  Deveria,  Motte's  son-in-law,  did  the  first 
print  according  to  INIotte's  method.  La  Conversation  Anglaisc,  dated  January 
10,     1830;    that    is,    the    first    in    which    the    stone     was    entirely    covered     with 

69 


LITHOGRAPHY    AND    LITHOGRAPHERS 

ink ;  washes  and  scraping  to  a  less  extent  occur  in  earlier  prints.  Isabey, 
Deveria,  Huet,  Roqueplan,  and  Charlet  produced  albums  containing  some 
of  their  finest  prints  in  the  manure  noire.  Saint- Evre  and  Boulanger 
■experimented.  So  great  was  the  preoccupation  with  it  that  two  years  later 
Tudot,  another  printer,  was  improving  upon  Motte  by  the  introduction  of  a 
tool  for  scraping,  claiming  the  invention,  and  being  rewarded  and  medalled 
for  it.  And  other  printers  and  artists  helped  to  develop  this  method  and  the 
lithotint  of  Hullmandel,  practically  the  same  as  the  lavis  lithographiqiie  of 
Engelmann,    in  both  cases  the  original  hint  having  been    given  by  Senefelder. 

Lithography  was  also  used  largely  for  the  Illustration  of  newspapers. 
L' Album,  Jotirnal  dcs  Arts,  de  la  Litti'ratitrc,  des  Mosiirs  et  des  Theatres,  that 
had  a  chequered  existence  between  1821  and  1829,  published  a  few  litho- 
graphs. So  did  Le  Miroir  (1821-3),  for  which  Delacroix  worked.  So 
did  La  Liberty,  in  which  many  of  the  younger  men  sowed  their  romantic 
oats;  and  La  Silhouette  (1S29-30);  and  La  Mode  (1829-30),  Girardin's 
organ.  And,  Indeed,  you  can  scarcely  take  up  a  periodical  of  the  time  without 
coming  across  lithographs  contributed  more  or  less  irregularly.  Most  of  them 
lived  a  few  years  only  ;  many  were  as  insignificant  as  the  reputation  they  left 
behind  them.  They  but  prepared  the  way  for  the  great  papers  and  periodicals 
which  depended  for  success  primarily  upon  their  lithographs,  publishing  the 
most  famous  prints  of  the  time,  living,  with  one  exception,  for  many  years  : 
La  Caricature  and  Le  Charivari  managed  by  Philipon,  a  genius  among 
journalists  ;  and  L' Artiste,   edited  by   Ricourt,   the  friend  of  Delacroix. 

U Artiste  was  founded  in  1831  as  the  organ  of  the  Romanticists.  In  the 
early  years  each  number  contained  an  original  lithograph  drawn  by  a  dis- 
tinguished artist.  Delacroix,  Diaz,  Barye,  Dupre  contributed  from  time  to 
time.  Some  of  their  prints  were  considered  too  Impressionistic,  and  the  editor 
had  to  promise  "more  finished  work,"  though  he  expressed  his  preference 
for  that  of  the  artists  he  had  published.  Other  contributors  were  Celestin 
Nanteull  (his  most  famous  lithograph,  the  Rue  de  la  Vieille  Lanterne, 
appeared  in  L' Artiste),  Raffet,  Lami,  Fragonard,  Almee  de  Lemud,  whose 
Jllaitrc  IVulframb  enjoyed  perhaps  a  greater  success  than  any  other  single 
print  ever  Issued  ;  Decamps,  with  his  studies  of  the  Chase  and  of  the  East  ; 
GIgoux  ;  Charlet  in  his  maturity;  Gavarni  in  his  youth;  Paul  Huet;  Tony  and 
Alfred  Johannot,  then  at  the  zenith  of  their  almost  Incomprehensible  popu- 
larity ;  Achllle  and  Eugene  Deveria,  declared  the  Fathers  of  Romanticism, 
which,  like  Illustration,  has  had  so  many  fathers. 

Among  them  Achille  Deveria  was  one  of  the  most  brilliant  as  well  as 
one  of  the  most  industrious.  He  illustrated  the  stories  of  the  Romanticists, 
he  composed  romantic  incidents  for  himself,  and  he  was  most  interesting  in  his 
portraits.  They  are  a  wonderful  series.  Those  of  Dumas  pere,  David,  the 
sculptor,   Lamartine,    Victor    Hugo,    Chateaubriand,   and,   more   than    all    others, 

70 


Gavarxi  :  Thomas    Vireloque. 


THE    GREAT    PERIOD    IN    FRANCE 

Lemercier,  the  founder  of  the  Hthographic  house  of  the  name,  will  live  lont^ 
after  his  more  elaborate  designs  are  forgotten.  And  his  portraits  of  women 
— even  his  fashion  plates — have  an  irresistible  charm.  If  Velasquez  dis- 
covered beauty  in  the  stiff,  outrageous  dress  of  the  Spanish  Infanta,  Deveria 
invented  it  in  the  leg-of-mutton  sleeve,  the  poke  bonnet,  the  heelless  shoe 
of  1S30.  But  portraits  were  among  the  triumphs  of  French  lithography. 
Grevedon,  in  original  work,  or  in  copies  of  Lawrence  and  Winterhalter,  has 
left  a  beautiful  collection,  almost  too  perfect  in  their  prettiness  perhaps,  but 
never  without  style  and  distinction,  their  charm  often  enhanced  by  colour. 
Deroy  would  be  remembered  as  a  portraitist,  if  only  for  his  delightful  Bau- 
delaire, elegant  and  picturesque,  and  Gigoux  if  only  for  his  excellent  Alfred 
and  Tony  Johannot,  that  served  later  as  a  suggestion  for  Gavarni's  Edmond 
and  Jules  de  Goncourt  and  endless  other  imitators  to  the  present.  And 
Gigoux,  like  Deveria,  understood  the  elegance  and  delicious  absurdity  of  the 
costume  of  1830. 

Philipon,  who  began  life  as  a  lithographer  but  developed  such  a  talent 
for  journalism  that  he  gave  up  art  for  editing,  started  La  Caricature  in  1830. 
It  was  a  weekly,  illustrated  by  lithographs.  Two  were  published  in  each 
number,  and  there  were  four  small  pages  of  text.  The  political  caricatures 
gave  the  paper  its  interest  but  not  financial  success,  for  they  led  to  constant 
police  supervision — twenty-two  seizures  was  the  record  for  one  year,  and 
Philipon,  to  pay  expenses,  published  in  connection  with  it  La  LithograpJiie 
Meiisuelle,  in  which  several  of  the  greatest  lithographs  by  Decamps  or 
Daumier  were  printed.  La  Caricatiire  made  so  formidable  a  name  for  itself 
as  a  political  power,  that  it  was  suppressed  altogether  in  1835.  In  1832 
Philipon  commenced  Le  Charivari,  a  daily  containing  one  lithograph  and 
three  pages  of  text.  With  certain  changes  it  is  still  in  existence.  Decamps 
drew  for  it  Le  Pieii  Monarque  and  L'An  de  Grace  1840  du  Rcgiie  Glorieux 
de  Charles  X,  revealing  at  once  his  force  as  draughtsman  and  satirist. 
Raffet's  only  caricatures  are  to  be  found  in  Le  Charivari.  But  among  the 
crowd  of  contributors,  mostly  forgotten,  the  men  who  made  the  reputation  of 
the  paper  were  Gavarni  and  Daumier. 

Gavarni's  work  is  many  sided.  One  is  struck  with  his  imagination,  his 
energy,  his  craftsmanship,  his  technical  audacity.  His  productiveness  was 
inexhaustible.  He  issued  collections  of  prints  for  himself.  He  contributed 
series  to  almost  every  periodical  of  the  day,  down  to  the  Comte  de  Villedreil's 
Paris,  to  which,  during  the  year  of  its  existence,  1852,  he  was  ready  to  send 
his  daily  lithograph.  He  seized  his  characters,  his  people,  dans  le  vrai,  Balzac 
wrote  of  him.  As  with  Charles  Keene,  the  life  he  knew  was  his  delight,  and 
his  desire  was  to  render  the  men  and  women  about  town,  the  people  he  saw 
at  balls,  students,  the  bourgeois,  the  enfa)it  terrible,  tramps,  beggars — all  the 
amusing  Paris  types.      In   this   phase   he    became    more    and   more   satirical  and 

1Z  D* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

morose  until  his  satire  culminated  in  Thomas  Vircloque,  one  of  the  most 
powerful  lithographs  ever  drawn.  And  as  his  cynicism  took  stronger  hold 
upon  him,  his  methods  broadened.  He  gave  up  the  tight  manner  of 
L' Artiste,  he  worked  no  longer  in  silvery  greys,  in  flat  tones ;  he  put  in  his 
figures  in  a  bold  mass  ;  his  line  acquired  nervousness  and  freedom  ;  his  colour 
became  varied,  brilliant,  intense.  He  combined  the  old  methods  and  invented 
new  ones.  Timidity  and  hesitation  were  gone  ;  all  means  were  legitimate  that 
gave  him  what  he  wanted.  With  time,  in  his  estimation,  the  legend  beneath 
the  drawing  increased  in  importance,  and  upon  it  his  ingenuity  was  expended. 
But  for  us,  the  lithograph  is,  and  ever  will  be,  the  thing ;  whether  because  of 
the  sinister  beauty  of  colour  he  could  give,  as  in  the  grim  Vireloqtie  ;  or  for 
the  quality  he  could  get,  probably  from  the  graining  of  the  stone,  as  in  the 
portrait  of  Isabey  ;  or  for  the  vivacity  and  vigour  of  his  line,  as  in  so  many 
of  his  beggars  and  children,  his  students  and  artists.  There  may  be  a 
complete  catalogue  of  his  prints,  but  a  complete  list  of  even  the  albums, 
containing  twenty  or  thirty  each,  would  fill  pages  and  surprise  those  who  do 
not  know  them  by  their  endless  variety. 

Daumier  was  as  prolific,  as  accomplished,  as  varied  as  Gavarni,  and, 
perhaps,  more  romantic,  more  dramatic  in  conception  and  execution.  After 
a  few  insignificant  prints  for  Beliard  the  printer  and  in  the  Silhojiette  for 
Ricourt,  after  a  preliminary  feeling  of  his  way  and  one  short  excursion  into 
the  past  of  Napoleonic  Legend,  Daumier  took  his  place  as  master  among 
the  lithographers  of  La  Caricature  and  Le  Charivari,  and  found  the  subjects 
he  was  never  to  exhaust  in  the  life,  political  or  social,  of  the  day.  Because 
Philipon  invented  his  jokes  it  has  been  said  of  him,  as  of  Charles  Keene, 
that  he  was  without  imagination.  But  it  is  a  small  matter  where  he  found 
his  jest  when  he  could  see  for  himself  the  people  of  Paris — as  Charles 
Keene,  in  his  way,  saw  the  people  of  London.  There  was  an  intensity  in 
the  realism  of  Daumier  that  made  of  his  bourgeois  something  fantastic, 
something  romantic.  His  political  caricatures  that  appeared  in  rapid  succes- 
sion in  La  Caricatiire  were  strong  enough  to  send  him  for  six  months  to 
the  prison  of  Sainte  Pdlagie,  and  there  is  reason  to  be  grateful,  for  one  of 
his  most  beautiful  lithographs  is  a  record  of  some  of  the  people  who  were 
there  too  :  a  remarkable  group  of  three — remarkable  for  quality,  for  character 
in  the  three  heads.  In  Le  Charivari,  with  the  type  on  the  other  side  of  the 
page  showing  through,  it  necessarily  loses  something  in  strength  and  quality. 
Most  of  the  lithographs  contributed  to  La  Caricature  and  Lc  Charivari  by 
Daumier  and  Gavarni — two  artists  who  were  never  troubled  by  the  modern 
fear  of  over-production,  a  fear  fostered  mainly  by  dealers — now  exist  only  as 
prints.  They  were  so  sure  in  their  methods  that  often,  probably,  they  never 
saw  a  proof,  the  drawings  being  made  directly  either  on  stone  or  on  zinc  or 
metal  plates — it  is  impossible  to  tell  which — and  then  etched  and  put  at  once 

74 


LE    PUBLIC 


M 


1^     X 


jA'/iJ!  'A'j'a  jAajaAT  hj  siTOiMAXa'a  mjaht  via  zaTgixaA— kojaS  uo  auaul  aa  :  aamuAQ  .H 


•■'^»ir 


.■'JivitnotWaUriuCi!  -',■,! 


wvUi-'Li-^i-^ 


morose    un: 
[  lowerful    i  ■ 
upon     h' 
//.-/'-'■ 

becamr 

new  ones,      in; 
gave  him  v 
the  drav ' 

Km:       I-,,, 


nose 
hold 
■     of 

lis 

ir 


HY    AND    i 

;nated     in    Tk. 

And    as    ii 
;itu.        He     g'iiv. 
■1    silvery  greys,    .. 
jiiired   nervousness 

inbined  the  old  w 
gone  ;  all    means 

estimation,  U.c  icgend  ', 

it  his  ingenuity  was  expeiu.'.u 

;(•.    ;;.-,i  .     whether  because  of 

n    V'reloque ;  or  for 

:ie,  as  in  the 

many 


ts 


H.  Daumier  :  Le  Public  du  Salon— Artistes  en  train  u'examiner  le  tableau  d'un  rival. 


,..;. ,  ,    .  .p    of    thrpp'  - 

■  k.      In    Le   Charivari 
trough,    it   necessarily   if 
Most   ')!    the    lithographs    contributed   to 
Daunti'.  r  and   Gavarni — two  artists   who 
fear  of  ovcr-prodiKtion,  a  fear  fostered 
prints.     They   were  so   sure  in  their  \w\.  = 
saw  a  proof,  the  drawings  being  made    ■ 
■iK-tal  plates — it   is  impossible  to  tell  wiii 

74 


mauci 
ie    of    I'a  ; 
1-'^   was   ai 
something 

red    in  rapid  succes- 
;id    him    for    six    months    to 
on    to   be 


:ri   by 


-  ....  er 
fi  zinc  or 
■    at  once 


LE   PUBLIC    DU    SALON 


XC)^ 


i^ 


m. 


r  ^ 


1 


. s  litn  itii;'- J'.;  r 'iwitaue W tilt  i su  Cn'  -j'  i  nmtt .  !»r.5 . 


C»vii  its  iiiitiJ--', •■■■'> 


U'iUl(,i.i.ll     liiil-L      11  .'..1.1 


THE    GREAT    PERIOD    IN    FRANCE 

on  the  press  ;  owing  to  the  hurry  of  the  printers  they  probably  did  not  work 
on  paper.  Doubtless,  there  was  frequently  no  time  for  a  proof,  any  more 
than  there  was  room  for  collectors  of  illustrations  from  cheap  papers.  Almost 
all  the  examples  of  Daumier  to  be  found  to-day  are  in  the  pages  of  these 
papers,  with  the  type  on  the  back. 

Some  of  Daumier's  other  famous  prints  were  done  in  his  early  years:  Le 
Ventre  Lc'gislalif,  a  decorative  arrangement  of  vain  and  foolish  and  senile 
and  pompous  statesmen  ;  the  Rice  Transnonain,  the  tragedy  to  which  any 
explanatory  legend  would  seem  an  impertinence,  where  you  see  vaguely 
taking  shape  from  out  the  shadows  the  figure  of  a  woman,  learned  in  fore- 
shortening, and  in  the  other  corner  an  old  man's  head,  and  in  the  centre,  the 
light  concentrated  upon  it,  the  grisly,  terrible  body  of  the  third  victim,  crushing 
the  child  whose  blood  flows  with  his  upon  the  floor.  This  is  Daumier's 
masterpiece,  and  both  prints  appeared  in  La  Lithographie  Mensuelle.  But 
there  followed  in  Lc  Charivari  one  series  after  another  ;  five  thousand  prints 
he  is  said  to  have  made,  and  now  collectors  are  searching  garrets  and  waste- 
paper  warehouses  for  as  many  of  them  as  can  be  traced.  If  in  this  vast 
number  he  stooped  sometimes  to  ordinary  dodges  and  devices,  if  he  had  a 
deplorable  fancy  for  the  old  trick  of  putting  big  heads  on  little  bodies,  for 
big  noses  and  distorted  faces  and  deformed  figures,  if  he  repeated  himself, 
think,  on  the  other  hand,  of  the  incredible  number  of  good  things  in  his 
Mceiirs  Conjitga/es,  his  Gens  de  Justice,  his  Bons  Bourgeois,  his  Bas  B/eiis, 
his  Divorceiises,  his  Baigneuses,  his  Philanthropes,  his  classical  parodies,  his 
Robert  Macaire — the  immortal  Macaire  who  held  such  sway  that  when 
Thackeray,  posing  as  art  critic,  undertook  to  write  the  history  of  lithography 
in  Paris,  he  could  write  only  of  Macaire.  And  how  well  you  see  the  fun 
Daumier  had  out  of  them  all  !  His  technique  has  an  exuberance,  an  ardour,  a 
fire,  a  recklessness  based  upon  knowledge.  And  almost  as  great  a  wonder  is 
that  his  beautiful  colour,  his  delicate  tones,  could  survive  the  printing  of  a 
daily  paper.  But  it  is  a  further  proof  of  how  much  better  was  newspaper 
printing  seventy  years  ago  than  it  is  to-day. 

Daumier  lived  to  make  lithographs  of  the  Franco-German  War  ;  Gavarni 
died  in  1866.  But  long  before,  the  great  days  of  the  art  were  over. 
M.  Beraldi  dates  the  decline  from  1840,  when  complaints  were  heard  that 
n Artiste,  which  had  done  so  much  for  lithography,  was  beginning  to  abandon 
it.  Already,  in  1834,  the  year  when  a  petition  was  presented  to  Louis 
Philippe  urging  the  State  to  undertake  work  for  the  encouragement  of  steel 
engraving  killed  by  lithography  (the  year  when  praise  was  lavished  on  the 
immense  improvement  in  lithographic  printing,  due  largely  to  Motte),  there 
were  whispers  that  lithography  was  in  danger  of  being  vulgarized  by  popu- 
larity. In  1836  notices  of  the  lithographs  in  the  Salon  regret  signs  of  a 
decline.      The     art,    disdained    in     England,     the    critics    said,     was    abused     in 


LITHOGRAPHY    AND    LITHOGRAPHERS 

France  by  the  publishers  of  cheap  work,  and  a  public  that  could  not  under- 
stand anything  but  inartistic  primness  of  finish.  All  sorts  of  other  reasons 
were  found — the  commercial  conditions  after  1830,  the  growth  of  a  new 
school  of  colourists,  the  mechanical  devices  introduced.  The  fact  is  that 
cheapness  was  as  deadly  an  enemy  to  lithography  as  it  has  since  been  to 
wood-engraving  and  process.  In  L' Artiste,  about  this  date,  you  begin  to  read 
of  the  ruin  threatened  to  art  by  commercialism,  by  the  cheap  work  with 
which  the  lesser  lithographic  firms  were  flooding  the  country.  Its  editors 
were  also  probably  disgusted  with  provincial  imitations,  like  H  Art  en 
Province,  a  monthly  founded  at  Moulins  in  1835,  and  run  on  much  the  same 
lines,  with  a  forced  element  of  picturesqueness  in  imitation  of  Baron  Taylor. 
But  it  would  be  useless  and  hopeless  to  consider  all  the  minor  periodicals, 
books,  and  collections.  It  is  sufficient  to  say  that  L' Artiste,  at  one  time  the 
most  brilliant  champion  of  lithography,  began  towards  1S40  to  substitute 
etchings  and  engravings  for  lithographs.  Gradually,  artists  were  warned  that 
if  they  would  save  their  beautiful  art  from  disaster  they  should  devote  it  to 
serious  ends,  and  Germany  was  upheld  as  an  example  of  the  direction  this 
seriousness  should  take.  The  task  of  the  lithographer  should  be  the  copying 
of  pictures.  And  besides,  the  mechanical  methods  of  reproduction,  Gillotage, 
as  process  was  first  called,  and  photo- lithography,  which  meant  greater 
cheapness  and  certainty  for  the  illustrated  papers  and  the  magazines,  helped 
to  deflect  artistic  lithography  into  new  channels.  There  only  remained  the 
French  reproductive  lithographers,  who  remain  still. 

Not  that  original  work  came  entirely  to  an  end.  The  beautiful  litho- 
graphs by  Diaz  were  not  printed  in  L' Artiste  until  1849.  Corot,  Millet, 
Courbet,  Jacque  (to  whom  transfer  paper  was  of  good  service),  made  a  few 
lithographs,  which  reveal  little  appreciation  of  lithographic  quality  but  are  like 
their  drawings  in  other  mediums.  The  fact  that  these  prints  are  like  the 
artists'  drawings,  that  each  has  an  individuality  and  character,  is  just  what 
constitutes  their  merit.  A  few  artists  by  means  of  lithography  were  begin- 
ning to  find  a  freedom  of  expression  unknown  in  any  other  form  by  which 
their  drawings  could  be  multiplied,  though  the  bulk  of  the  lithographers  were 
trying  to  make  things  that  looked  like  lithographs  and  were  slaves  of  the 
chalk  and  the  stone.  Then  there  were  the  fine  landscapes  of  Adolphe 
Hervier,  whose  two  most  important  albums,  Pay  sages  et  Marines  and 
Baraques,  were  published  by  Lebrasseur  in  1S52.  Charles  Bargue  was  at 
work,  a  lithographer  of  individuality,  and  Chasseriau,  the  disciple  of 
Delacroix,  while  Gustave  Dore  spared  time  from  his  innumerable  designs  for 
the  wood-engraver  to  make  many  lithographs.  Dore  was  as  indifferent  to 
lithographic  quality  as  the  painters,  and  therefore  got  his  own  character,  or 
mannerism,  into  his  work,  and  Bargue  and  Chasseriau  may  be  ranked  with 
the  copyists,   among  whom  activity  was  greatest  from   1S40  onwards. 

78 


H.  Daumier  :  A  Sainte  Pelagie. 


THE    GREAT    PERIOD    IN    FRANCE 

There  had  been  a  good  deal  of  reproductive  work  before  this,  but  it  had 
never  in  France  ranked  with  original  creative  design,  it  had  never  assumed 
the  importance  of  similar  reproduction  in  Germany.  But  reproduction  finally 
swallowed  up  French  lithography.  Aubry-Lecomte  had  been  the  leader  of  the 
French  school  of  reproductive  men  developed  between  1820  and  1840.  There 
were  publishers  eager  for  their  prints,  and  publications  undertaken  for  their 
benefit,  even  galleries  in  the  German  style.  The  Galerie  de  la  Duchesse  de 
Bcrrv  was  brought  out  by  Didot  in  1S22,  and  later  on  Alotte  produced  the 
Ga/erie  Lithographide  de  Son  Altesse  Royale,  Monseigneur  le  Due  d Orleans — 
not  very  notable  either  of  them.  Aubert,  the  publisher  of  Le  Chai'ivari  and 
La  Carieature,  began  in  1834  the  Revue  des  Peintres,  a  monthly,  with,  for 
object,  the  reproduction  of  the  paintings  and  drawings  that  were  the  success  of 
the  current  exhibitions  and  private  galleries.  U Artiste  gave  reproductions 
of  pictures  shown  or  refused  at  the  Salon.  La  Carieature  and  Le  Chai'ivari, 
and  provincial  publications  like  L'Art  en  Province,  began  to  reproduce  them. 
Then  there  were  catalogues  and  albums:  Le  Salon  de  1839,  Album  du  Salon 
for  1840,  1841,  1842,  issued  by  Beauger  and  Challamel,  in  which  the  prints, 
accompanied  by  critical  and  descriptive  te.xt,  were,  as  a  rule,  poor  perform- 
ances, though  some  of  the  best  known  reproductive  lithographers  contributed  : 
Mouilleron,  Leon  Noel,  Alophe,  Francais,  Celestin  Nanteuil,  Ciceri,  Jollivet, 
Dauzats.  It  comes  as  a  surprise  to  see  Gavarni  among  them,  copying 
Les  Suites  de  Bal  Masque,  by  Biard.  Several  were  destined  to  carry  the 
work  to  perfection.  When  exhibitions  were  given  in  provincial  towns  it  was 
usual  to  commission  Aubry-Lecomte,  Gigou.x,  Leon  Noel,  or  other  artists  to 
reproduce  on  large  stones  the  principal  pictures  of  the  year.  Books  with 
lithographs  after  paintings  and  drawings  appeared  about  the  same  date. 
Challamel,  the  printer,  issued  his  Vie  de  Jdsus  Christ,  by  Bossuet,  illustrated 
by  his  own  lithographed  copies  of  Fragonard's  drawings  after  the  Old 
Masters  ;  and  his  Vie  de  la  Sainte  Viergc,  for  which  again  Fragonard  was 
the  draughtsman,  and  Mouilleron  the  lithographer. 

IMouilleron  was  one  of  the  most  distinguished  of  the  copyists.  He 
reproduced  Delacroix  to  the  painter's  satisfaction.  He  worked  for  German 
and  English  publishers  and  editors.  One  of  his  principal  works  was  his 
reproduction  of  Rembrandt's  Night  Wateh,  considered  a  triumph  at  the  time. 
Sirouy  and  Le  Roux  and  Sudre  also  reproduced  Delacroix  and  many  moderns. 
Ingres  was  so  delighted  with  the  work  of  Sirouy,  who  put  the  Odalisqtie  on 
stone,  that  he  declared  the  picture  would  never  have  been  heard  of  afterwards 
but  for  the  lithograph.  Celestin  Nanteuil's  copies  were  so  well  appreciated, 
that  he  was  invited  to  Madrid  in  1854  to  copy  the  Prado  pictures,  as  Jollivet 
and  Blanchard  had  been  years  before.  Then,  there  were  the  landscape  men, 
Emile  \'ernier  and  Francais,  who  interpreted  on  stone  the  pictures  of  the 
Barbizon    painters,   and    did    it   uncommonly   well,    lithography   being   the   repro- 

81 


LITHOGRAPHY    AND    LITHOGRAPHERS 

ductive  method  which  can  best  suggest  the  exquisiteness  of  Corot,  the  mystery 
of  Millet,  the  luminous  atmosphere  of  Troyon.  There  were  many  others  only 
less  accomplished — Emile  Lassalle,  Hue,  Marin-Lavigne,  J.  Laurens, 
Soulange-Tessier,  Jacott,  Chauvel,  Achille  Gilbert.  Their  work  has  more 
sympathy  and  spontaneity,  less  dryness  and  cold  formality,  than  that  of  the 
German  reproductive  men — always  excepting  Hanfstangl.  Representative 
collections  are  the  Artistes  Anciens  et  Modernes  and  the  Artistes  Contem- 
porains,  published  during  several  years,  in  which  all  the  best  reproductive 
work,  as  well  as  original  designs,  like  the    Vireloque,  appeared. 

But  nothing  could  save  lithography  from  the  fate  that  by  the  fifties  was 
threatening  to  overtake  it.  Less  and  less  used  for  illustration,  less  and  less 
practised  by  painters,  lithography  was  more  and  more  disdained  by  the 
public.  By  iS6o  and  iS6i  it  seemed  so  essentially  an  art  of  the  past  that 
the  collector  was  willing  to  give  large  prices  for  certain  early  prints.  In  the 
Salon,  lithographs  were  treated  with  contempt,  and  hidden  in  out-of-the-way 
corners.  Men  like  Gavarni  and  Daumier  and  Raffet  saw  no  use  in  exhibiting;-. 
And  things  had  come  to  such  a  pass  that  in  1864  Burty  found  lithography 
en  pleine  d(fcadeiice.  Not  only  did  the  reproductive  lithographers  and  copyists, 
brilliant  technically  as  many  of  them  were,  nearly  succeed  in  suppressing 
original  work  in  lithography,  but  they  seized  the  Salon,  excluded  almost  all 
original  work,  and  awarded  most  of  the  medals  to  themselves,  as  they  do 
even  until  to-day.  They  have  formed  societies  and  issued  albums  and 
portfolios  for  their  own  profit  and  glorification.  And  had  they  only  been  a 
little  stronger  they  would  have  killed  the  art  completely.  But  then  they 
would  have  killed  themselves,  and  that  is  by  no  means  their  intention. 
\n  French  official  art  now  there  is  scarcely  such  a  thing  as  an  artistic 
lithograph  recognized. 

The  art  has  not  perished,  even  in  France,  but  for  a  while  it  suffered 
the  same  neglect  that  wood-eno-ravinsf,  etching,  and  steel  engraving-  each  in 
its  turn  has  experienced. 


82 


< 


< 


< 

Q 


EARLY    ENGLISH 


Thomas  Stothard. 
From  Specimens  of  Polyautography. 


EARLY    ENGLISH 


CHAPTER    IV 

IT  is  curious  that  for  several  years  in  England,  the  country  to  which 
Senefelder  came  to  take  out  his  patents,  and  to  whose  artists  he 
looked  to  develop  the  art  he  had  invented,  hardly  any  litho- 
graphs were  made,  save  a  few  prints  by  French  refugees  living  in 
London,  and  two  albums  of  examples  of  "  Polyautography,"  the  original 
English  name  for  lithography.  The  term  Polyautography,  Wagner  says,  was 
invented  by  F.  Johanndt,  of  Offenbach.  In  France  and  Germany  the  art  was 
universally  practised,  and  the  subject  of  interest  to  artists  and  scientists  before 
attention  was  paid  to  it  publicly  in  England.  Then,  it  was  because  a  print- 
seller  named  Ackermann  and  a  lithographer  named  Hullmandel,  in  1819, 
wished  to  issue  an  English  translation  of  Senefelder's  Complete  Course  of 
Lithography,  and  brought  the  book  to  the  notice  of  the  Society  of  Arts. 
Having  had  it  translated  by  Schlichtegroll,  they  had  to  publish  and  sell  it, 
and  they  saw  an  advertisement  in  the  awarding  of  the  Society's  gold  medal 
to  Senefelder,  who  was  so  little  known  that  a  long  correspondence  was 
necessary  to  e.xplain  who  he  was  and  what  he  had  accomplished  in  the  art, 
of  which  the  Society  had  never  heard,  which  was  never  mentioned  until 
1818  in  their  published  records,  though  for  twenty  years  it  had  been  the 
subject  of  inquiry  in  similar  societies  in  France  and  Germany.  When  litho- 
graphy was  referred  to  in  other  English  publications,  Senefelder  was  apt  to 
be   ignored,   and,   in    more  than   one  article,   credit  was  given   to   Philip  Andre. 

But  in  1 80 1,  the  vear  after  Senefelder  came  to  London,  the  Annual 
Register  for  June  20th  contains  the  following  entry  :  "  To  J.  Aloysius  Senefelder, 
of  Gould  Square,  London,  gent.  ;  for  a  new  method  and  process  of  performing 
the  various  branches  of  the  art  of  printing  on  paper,  linen,  cotton,  woollen, 
and  other  articles,"  and  in  the  Abridgement  of  Patents,  Printing  (Part  I, 
page  28),  it  is  stated  that  the  art  was  discovered  by  Senefelder  in  1800. 
The  date  is  wrong,  but  paper  is  spoken  of  as  well  as  stone,  and  transferring 
is  explained.  The  word  "lithography,"  however,  never  occurs,  one  of 
Senefelder's  (or  probably  Andre's)  objects  being  to  keep  the  art  a  secret, 
while  his  reason  for  comins:  was  not  the  encouragement  of  art,  but  the 
printing  of  calico  by  lithography,  which  proves  him  to  have  been  intelligent 
in  adapting  his  aims  to  the  requirement  of  the  nation  he  visited. 

On  April  30,  1803,  a  volume  containing  twelve  prints  was  issued  by 
His    Majesty's    Royal    Letters    Patent,    entitled    Specimens    of  Polyautography, 

89 


LITHOGRAPHY    AND    LITHOGRAPHERS 

Consistwg  of  Impressions  taken  from  Original  Draivings  made  pui'posely  for 
this  Work.  London:  Piiblished  the  2,0th  of  Apr  i/,  1803,  by  P.  Andrd,  Patentee, 
No.  5,  Buckingham  Street,  Fitzroy  Square,  a7id  J.  Heath,  1 5,  Russe/l  Place, 
Fitzroy  Square.  The  prints  are  by  Stothard,  Warwick,  Delamotte, 
R.  Corbould,  R.  Cooper,  Hearne,  Fuseli,  Barry,  Sir  R.  K.  Porter,  Earlier, 
and  Benjamin  West.  They  were  reprinted  in  1S06  by  G.  J.  Vollweiler  under 
the  title,  Specimens  of  Poly  autography,  Consisting  of  Impressio7is  taken  from 
Original  Draivings,  Made  on  Stone,  purposely  for  this  Work.  Printed  by 
G.  J.  Vollweiler,  Patentee,  Successor  to  M.  Andre',  1S06.  Vollweiler 
appealed  to  "Amateurs  who  wish  to  draw  on  stone  and  have  impressions 
taken  from  it,"  sending  out  a  circular  with  his  terms  for  lending  stones,  ink, 
and  chalk,  and  delivering  prints.  But  few  original  designs  from  his  press 
survive,  except  sketches  by  P.  E.  Stroehling,  of  classical  subjects,  rather  freely 
printed  on  brown  paper.  Another  portfolio  evidently  was  published  by 
Vollweiler,  for  it  is  referred  to  in  an  article  in  the  Gentleman's  Magazine 
for  1 80S.  The  South  Kensington  Museum  possesses  a  portfolio,  not,  however, 
in  its  original  cover,  to  which  some  one  has  affixed  the  title  :  PolyaiUographic 
Society,  Examples  of  forty  Original  Drawings.  The  twelve  drawings  of 
Andre's  portfolio  reappear  in  this  collection.  One  of  the  new  prints  is 
ascribed  to  Turner,  but  it  certainly  is  not  his  ;  it  is  a  commonplace  perform- 
ance, nothing  like  the  work  of  Turner,  who  is  not  known  ever  to  have 
made  a  lithograph,  and  it  is  signed  "  G.  Walker,  amateur."  There  are, 
besides,  two  chalk  drawings,  one  by  Fuseli,  not  included  in  the  original 
collection,  and  a  number  by  Heath.  The  dates  range  from  1802  to  18 16. 
Several  bear  at  the  foot  the  inscription  :  London,  Printed  from  a  Pen  and 
Ink  Drawing  on  Stone  at  the  Polyautographic  Office,  No.  9,  Btickitigham 
Place,  Fitzroy  Sqiiare.  Three  drawings  of  boats  by  Cornelius  Varley  in  this 
portfolio  are  dated  1 809  ;  they  may  have  been  three  of  the  four  prints  he 
afterwards  gave  to  the  Society  of  Arts;  and  as  others  are  as  late  as  18 16, 
one  begins  to  wonder  whether  the  collection  at  South  Kensington  has  not 
had  prints  of  later  date  added,  while  there  is  no  evidence  that  there  ever  was 
a  Polyautographic  Society,  or  that  it  published  an  album. 

In  addition  to  these  portfolios.  South  Kensington  possesses  a  curious 
volume,  partly  printed  by  Vollweiler  in  1 809  :  A  Series  of  Antient  Allegorical, 
Historical,  and  Legendary  Paintings,  which  were  discovered  in  .  .  .  1804,  on 
the  wa,lls  of  the  Chapel  of  the  Trinity  at  Stratford-upon-Avon,  in  Warwick 
shire,  also  Vieius  and  Sections  illustrative  of  the  Ajxhitecture  of  the  Chapel. 
London,  1807.  T.  Fisher,  Hoxton,  not  only  is  one  of  the  several 
publishers,  but,  according  to  the  inscription  underneath  the  designs,  drew 
and  etched  them.  Thirty-one  plates,  chiefly  copies  of  seals  and  MSS.,  are 
metal  engravings,  fifteen  others  are  lithographs  of  paintings,  and  the  advertise- 
ment   explains    that    they    were    "  Printed  from    Stone    at    the    Polyautographic 

90 


William  Bi.ake. 
From   Polyautographic  Collection. 


EARLY    ENGLISH 

Press  of  Mr.  Voluieler  [?],  and  the  Plates  immediately  destroyed,  on  which 
account  the  number  of  Copies  it  will  be  ultimately  practicable  to  complete 
cannot  exceed  120,  of  these  twenty  only  are  on  large  paper."  The  limited 
number  is  no  doubt  due  to  the  uncertainties  that  still  attended  the  new 
method  of  printing.  The  drawings  are  coloured  by  hand  and,  as  they  are 
etched  on  stone,  have  little  of  the  quality  of  lithographs. 

The  prints  of  the  first  polyautographic  albums,  and  many  as  rare 
belonging  to  the  same  period,  are  preserved  in  a  Polyautographic  Collection 
in  the  Print  Room  at  the  British  Museum.  A  large  head  and  a  portrait 
group  in  chalk  by  J.  G.  P.  Fischer  have  the  interest  of  rarity.  There  is  an 
early,  undated,  scraped  drawing  of  a  woman  threading  a  needle  by  candle- 
light, which  is  fine,  by  D.  Redman.  Charles  Heath,  the  engraver,  exhibited 
at  Somerset  House,  as  early  as  1804,  a  Venus,  or  Flora,  and  Cupids,  for 
there  is  a  note  on  the  margin  of  the  print  in  the  Museum  to  that  effect. 
He  made  many  experiments  in  engraving  on  stone.  Gillray  is  responsible  for 
a  drawing  called  "  A  Musical  Family,"  in  the  same  year  ;  and  there  is  one 
drawing  by  Blake — a  great,  godlike,  seated  figure,  at  whose  feet  Art,  Letters, 
and  Music  are  grouped,  in  feeling  not  unlike  one  of  the  designs  for  the  Book 
of  Job.  It  is  no  surprise  to  find  Blake  making  a  lithograph  as,  with  all  his 
poetry  and  mysticism,  which  alone  has  been  paid  any  attention  to,  he  was  a 
most  brilliant  engraver,  a  fact  which  has  been  lost  sight  of,  and  an  experi- 
menter in  all  forms  of  graphic  art.  It  is  highly  probable  that  he  met 
Senefelder,  though  there  is  no  record  of  it.  Another  of  the  few  English 
artist-engravers  who  carried  on  tradition  is  Thomas  Bewick,  and  he  says  in 
his  Memoir  that  he  made  in  1S23,  at  Ballantyne  and  Robinson's,  Edinburgh, 
a  lithograph,  a  sketch  on  stone,  drawing  the  "  sketch  before  breakfast  and  the 
proofs  were  taken  from  it  the  same  day.  ...  In  doing  this,  though  very 
slight,  I  could  see  what  that  manner  of  making  prints  was  capable  of."  The 
drawing,  however,  is  of  small  importance.  Almost  all  the  prints  in  these  early 
albums  and  experiments  were  engraved  on  stone  or  drawn  in  pen  and  ink.' 

D.  Redman,  who  had  been  employed  as  printer  by  Andre  or  Vollweiler, 
a  litde  later  opened  a  shop  for  himself,  at  15,  Bishop's  Walk,  Lambeth.  He 
was  employed  at  the  Quartermaster-General's  Office,  where  he  was  the 
official  printer  from  stone  of  maps  and  plans,  and  from  26,  Queen  Square,  in 
November,  18 15,  "he  offers  his  rates  for  stones  and  printing,  and  will  wait 
on  Ladies  and  Gentlemen  early  in  the  morning  or  evening,  and  he  hopes  to 
meet  the  approbation  of  the  British  Public,"  for  a  few  amateurs  played  with 
lithography  in  England  as  many  did  in  France,  and  the  results  are  in  the 
polyautographic  portfolios.  Some  of  the  prints  are  signed  by  the  Due 
de    Montpensier,    the    Duchess    of    Montrose,    Lord    Cawdor,    Sir     Robert     K. 

'  West's   and    Fuseli's   lithographs   of    1803  are  ahnost    the  only  early   English   ones    that 
were  done  in  chalk. 

93 


LITHOGRAPHY    AND    LITHOGRAPHERS 

Porter,  Lady  Georgiana  North.  Then  Redman  printed  "  Eight  Lithographic 
Impressions"  by  the  "following  Gentlemen  Artists  of  Bath."  The  gentlemen 
are  scarcely  remembered  and  the  publication  is  undated.  The  fashion  passed 
quickly,  the  way  of  all  fashions,  and  the  only  amateurs  of  title  or  notoriety 
who  later  practised  the  art  in  England  were  Queen  Victoria,  who  is 
credited  with  some  trivial  essays  as  she  is  in  etching,  and  the  Count  D'Orsay, 
who,  in  1839  and  1840,  drew  portraits  of  Carlyle,  Chesterfield,  Sheridan 
Knowles,  and  Theodore  Hook,  which  are  not  altogether  bad.  In  fact,  with 
the  slight  tint  that  has  been  added  they  are  "pretty." 

The  first  lithograph  used  as  a  book  illustration  in  England,  so  far  as 
there  is  record,  is  in  J.  T.  Smith's  Antiquities  of  Westminster,  1807,  p.  49.  The 
drawing,  made  with  a  pen,  is  described  as  "  Interior  of  the  Painted  Chatnber 
on  Stone."  It  is  followed,  after  a  page  or  two,  by  an  etching  on  copper  of 
the  same  subject.  Lithography  was  then  such  a  novelty  that  it  was  thought 
necessary  by  the  author  to  explain  the  new  method  of  printing.  So  little 
was  the  art  understood,  that  when  three  hundred  impressions  had  been  taken 
the  drawing  was  ruined,  and  the  author  states  that  it  will  not  appear  in  the 
rest  of  the  edition. 

The  first  English  manual  on  the  subject  is  Lithography,  or  the  Art  of 
Making  Drawings  on  Stone  for  the  Purpose  of  being  Mu/tip/ied  by  Printing 
(H.  Bankes,  London,  181 3),  entered  in  the  catalogue  at  South  Kensington 
but  not  in  the  Library.  At  the  British  Museum  there  is  a  manual  with  the 
title  :  Lithography,  or  the  Art  of  Taking  Impressions  froJit  Di^axvings  or 
Writings  made  on  Stone,  18 16,  which  may  be  a  later  edition.  It  is  an 
account  of  the  invention,  adapted  probably  either  from  Strohofer's  book  or 
some  official  German  or  French  report.  The  author  praises  transfer  paper, 
as  the  "  draughtsman  may  take  his  prepared  paper  to  the  country,  make  his 
sketches,  and  at  leisure  transfer  them  to  the  stone."  For  the  rest,  he 
modestly  claims  the  invention  of  the  word  "  lithography,"  he  denies  Senefelder, 
defies  Andre,  and  appropriates  the  art  to  himself  In  18 18  Charles  Hullmandel 
published  his  Twenty-four  Vieivs  of  Italy,  Draivn  from  N attire  and  Engraved 
upon  Stone:  commonplace  drawings,  badly  printed  by  Moser  and  Harris  in 
Somers  Town.  18 18  was  also  notable  as  the  year  of  the  Society  of  Arts'  first 
offer  of  a  premium  "  for  the  best  specimen  in  the  art  executed  on  stone,  the 
produce  of  the  United  Kingdom  or  its  Colonies. 

"The  Gold  Isis  Medal. 

"  A  particular  account  of  the  process  employed,  and  the  name  of  the 
quarry  whence  the  stone  was  taken,  six  impressions  of  the  drawings  to  be 
produced  to  the  Society." 

It  was  probably  to  compete  for  this  prize  that  Cornelius  Varley  submitted 
his  four  lithographs,  unfortunately  not  preserved  by  the  Society,  and  that  the 
drawings    were    made    for    the    new    portfolio    of    Specimens    of   Lithogi'aphy, 

94 


EARLY    ENGLISH 

printed  and  published  by  Francis  Moser,  on  March  21,  1S19.  The  name 
"  Polyautography "  disappeared  with  Andre  and  Volhveiler  and  Redman, 
though  by  no  means  a  bad  name  for  the  art.  In  his  "Advertisement"  to 
the  portfoHo  Moser  says  that  his  object  is  the  improvement  of  Hthography 
in  England,  where  the  art,  "  brought  to  a  state  of  great  excellence  both  in 
Germany  and  France,"  has  been  neglected.  He  says  that  though  "many 
of  the  first  Artists  of  the  Kingdom  "  had  already  practised  it  when  Andre 
came  to  England,  in  1803 — the  date  is  a  mistake — they  were  discouraged 
because  the  impressions  obtained  were  few  in  number  and  not  good,  and  the 
art  was  abandoned  to  amateurs.  What  was  needed  was  not  only  the  atten- 
tion of  o^ood  artists,  but  "a  Printer  well  acquainted  with  the  niceties  of  the 
business " — in  other  words,  Mr.  Moser  himself.  Moser's  printing  was  scarcely 
less  primitive  than  his  predecessors',  but  he  understood  and  insisted  upon  the 
great  advantage  of  lithography.  "Engraving,"  he  wrote,  "must  from  its  nature 
be  a  copy ;  lithography  not  only  saves  the  expense  of  the  engraving,  but  it 
multiplies  the  original  itself."  Most  of  the  lithographs  are  done  In  ink,  two 
are  printed  with  a  yellow  tint,  and  the  "Advertisement"  is,  as  a  note 
explains,  transferred.  The  drawings  with  a  tint  are  by  Hullmandel,  who  did 
the  most  accomplished  work.  Others  are  by  R.  Corbould,  H.  Corbould, 
E.  Blare,  and  G.  Scharf.  Hullmandel's  and  Scharf's  drawings,  technically,  are 
the    best. 

In  18 19  R.  Ackermann,  a  printseller,  began  to  publish  lithographs,  and 
also  to  defend  Senefelder,  and  in  the  minutes  of  the  Society  of  Arts,  The 
Committee   of  Polite  Arts,    April  6,    18 19,   is  the  following  : — 

"A  Communication  from  Mr.  Ackermann  was  read,  stating  that  Mr. 
Aloys  Senefelder  was  the  inventor  of  the  Art  of  Lithography,  and  that  he 
trusted  the  Society,  whose  zeal  in  promoting  the  advancement  of  the  Arts 
had  ever  been  most  conspicuous,  would  bestow  their  reward  on  Lithographic 
Excellence :  That  Mr.  Senefelder's  efforts  had  been  unremitting  in  bringing 
the  art  to  that  state  of  perfection  which  his  publication  on  the  subject  would 
evince,  and  that  his  distinguished  character  for  Science  would  be  best  appre- 
ciated in  the  contemplation  of  his  works.  That  he  requested  the  Society 
would  accept  a  copy  entitled  A  Complete  Course  of  Lithography,  etc.,  written 
by  Alois  Senefelder. 

"  Examined  a  variety  of  specimens. 

"  Mr.  Ackermann  produced  a  small  Press,  exhibiting  the  manner  in  which 
the  printing  was  executed,  and  explaining  the  process  of  preparing  the 
impression  to  be  taken  ;  a  complete  description  of  which  will  be  found  in 
Mr.   Senefelder's  publication. 

"  Mr.  Ackermann  stated  that  the  Press  was  Invented  and  made  by  Mr. 
Senefelder.  That  it  was  sent  from  Germany  to  him  by  Mr.  Senefelder,  and 
further    added,    that    previous    to    an    Impression    being    taken,    the    stone  on 

97  E 


LITHOGRAPHY    AND    LITHOGRAPHERS 

which  the    engraving  was    made   was   rubbed    over    with    water,  and    the    roller 

then  passed  over  it. 

"  Mr.    Accum  (?),    in   adverting  to  the  advantages    of  the  art,  observed   on 

the    multiplication   of    copies,    and  the   facility   in    producing  identical  facsituilcs. 

He    stated    that    he    had    read     Mr.    Senefelder's    work,    and    had    applied    his 

experiments  with    success;    that    the    Inks    he   recommended  were  all    effective 

and    that    no    person    who    possessed    the    book   could   be  at  a   loss    to    execute 

the  different  styles  of  drawing. 

"  Mr.    Heaphy    stated    that    he,    Mr.    Ackermann,   and     Mr.   Gandell,  had 

been    practising    the    art    for    three    years,    and    had    failed    in    a    variety    of 

attempts    before    they    had    obtained    Mr.    Senefelder's    book;    that    since    then 

their  progress  in   the  art  had  been  much  assisted.     Mr.   H.  observed  that  Mr. 

Senefelder  had   recommended   the   use   of  arease  as   the  essential   ineredient   in 

the  cravons  for  drawinsf  on  the  stone. 

"Resolved   to  recommend  to  the   Society  to  present  their  Gold    Medal  as 

a  Bounty    to    Aloys   Senefelder  for  having  freely    communicated  to    the    public 

the  most  perfect  and  complete  account  of  the  whole  process   of    Lithography, 

of  which  he  is  the  inventor. 

"  This  Report   was    read    and    agreed   to    at  the   Meeting  of  the    Society, 

April  7th,    1819." 

The  gold  medal  seems  to  have  been  sent  to  Senefelder,  as  his  wife 
wrote  in  1S21  that  he  not  only  gave  away  all  the  money  that  came  to 
him,  but  that  he  had  pawned  the  three  gold  medals  given  him  by  the 
Munich  Royal  Academy,  the  Duke  of  Leuchtenberg,  and  the  Society  of  Arts. 
Senefelder  conveyed  through  Ackermann  his  thanks  to  the  Society  of  Arts 
and  sent  them  a  printing  press,  "a  curious  and  most  useful  machine,"  which 
never  seemed  of  service  to  the  Society.  This  also  has  disappeared.  Acker- 
mann ends  his  letter,  dated  May  5,  1S19,  by  stating  that  he  is  glad  he 
"  was  in  some  measure  the  instrument  by  which  the  Society  were  induced  to 
become  the  patrons  of  his  (.Senefelder's)  invention."  The  publishers  had 
a  good  advertisement  for  Senefelder's  book,  which,  somehow,  appeared  at  the 
same  moment. 

The  Preface  to  the  Transactions  of  the  Society  for  1S19  gives  further 
evidence  ot  the  now  fairly  aroused  interest  in  lithography  and  recognition  of 
Senefelder.  It  is  there  stated,  with  a  delightfully  frank  contradiction,  that 
"it  will  be  found  from  the  communication  from  Mr.  Hullmandel  and  Mr. 
Redman  that  the  Society  has  not  neglected  the  recent  art  of  lithography " — 
though  it  had  ignored  it  for  eighteen  years — "by  which  identical  copies  of 
writing  and  drawing  may  be  obtained,  so  as  in  certain  cases  to  supersede  the 
employment  of  the  printing  press  and  the  graver."  Hullmandel,  in  the  course 
of  the  year,  had  read  a  paper  and  shown  specimens  on  German  stone  "  of 
the  art  invented  some  years  ago  in  Germany,  though  but   lately   introduced  ia 

98 


< 


EARLY    ENGLISH 

this  country,  at  least  in  its  present  state  of  perfection";  and  he  had  also 
presented  the  Tivcnty-four  Ficzus  of  Italy.  Hullmandel  had  learned  all  he 
could  directly  from  Senefelder,  with  whom  he  was  in  constant  communication. 
He  imported  presses  and  stones — Dibdin  says  fifteen  hundred  stones.  In  the 
same  year  Hullmandel  was  awarded  a  silver  medal  for  a  lithographic  drawing 
on  German  stone,  and  "  D.  Redman  for  ditto  on  English  stone  the  Silver 
Isis  Medal."  As  a  result  of  this  competition  Hullmandel  in  a  paper  or  letter 
of  thanks  rightly  praised  the  German  stone,  but  when  he  went  on  to  a 
description  of  drawing  on  stone  he  took  every  word  from  Senefelder's  book, 
whose  name  he  never  mentioned.  Nor  in  the  two  textbooks  he  published 
later  did  he  refer  to  Senefelder,  though  he  owed  everything  to  Senefelder, 
whom  he  tried  to  get  rid  of.  Redman,  however,  frankly  contradicts  his 
statements,  and  says  he  found  English  stone  quite  as  good  as  the 
German.  And  Ackermann  ended  the  correspondence  by  the  quotation 
given  above. 

For  many  years  the  Society  offered  prizes,  but  the  search  for  English 
stone  was  not  persevered  in.  In  1822  a  silver  medal,  or  20  guineas,  was 
offered  "  for  the  best  method  of  transferring  drawings  from  paper  to  stone 
for  the  purpose  of  lithography  superior  to  any  in  use."  And  in  1829  (vol.  .xlii, 
p.  47),  it  is  stated  that  lithographic  drawings  "  were  originally  made  on 
paper  covered  with  a  coat  of  size.  Many  advantages  attended  this  original 
method  as  compared  with  that  which  has  now  nearly  superseded  it,  namely, 
making  the  drawing  on  the  stone  itself."  The  report  complains  of  the  weight 
of  the  stones  and  praises  the  lightness  and  portability  of  the  paper,  on  which 
the  drawing  is  made  in  a  "  natural  position."  And  the  Society,  "  considering 
it  to  be  a  great  point  gained  to  so  improve  the  ink  and  paper,  and  gener- 
ally the  whole  method  of  making  lithographic  transfers,  as  to  render  it 
applicable  to  most  of  the  purposes  for  which  drawing  on  the  stone  is  now 
had  recourse  to,"  for  improvement  in  this  direction  awarded  prizes  to 
J.  Nethercliff;  and  after  that  lithography  was  paid  litde  attention  to  by  the 
Society  of  Arts  until  its  56th  volume,  in  which  there  is  a  paper  by  S. 
Williams  most  appropriately  quoted  here.  The  writer  advanced  as  a  reason 
for  the  indifference  to  the  art  in  England,  where,  he  says,  it  was  regarded 
as  an  inferior  kind  of  engraving,  the  fact  that,  while  the  Continental  artists 
drew  with  a  point,  Britons  were  trained  to  draw  with  a  brush  ;  and  he  pointed 
out  that  the  earliest  lithographers  in  the  country,  that  is,  the  first  who  did 
more  than  experiment,  were  foreigners  :  Carbonnier,  Guaci,  Scharf,  A.  Aglio. 
The  first  Englishman,  according  to  him,  was  W.  Nicholson,  who,  however, 
did  not  present  his  proofs  to  the  Society  of  Arts  until  1S21.  Taking  a  hint 
from  Mitterer  in  jNIunich,  Moser,  Rowney  and  Foster,  as  well  as  Hullmandel, 
printed  drawing-books  with  the  designs  of  Scharf,  S.  Harley,  H.  Walter, 
Dennis   Dighton — the  first  of  a  long  series  by  various  artists.     The  Society  also 

lOI 


LITHOGRAPHY    AND    LITHOGRAPHERS 

issued,  1848,  in  connection  witli  an  Art  Union,  a  lithograph  of  Linnell  after 
Mulready's  Sonnet,  one  of  the  most  perfect  examples  of  the  art  produced  in  the 
country.  In  1S20  were  published  J.  J.  Chalons  Parisian  Cafe's  in  colour,  in  some 
ways  almost  as  good  as  Lami's  work  ;  J.  Fudge's  studies  of  architecture,  some 
of  the  first  English  lithographs  to  show  strength  and  richness ;  and  the  Art 
of  Design  of  the  English,  mainly  drawings  by  H.  Corbould,  brought  out  by 
Rowney  and  Foster.  To  the  fear  that  lithography  was  only  a  cheap  substi- 
tute for  engraving,  which  is  often  stated,  was  added  fraud.  Carl  Vernet's 
drawings,  published  in  Paris,  were  stolen  apparently  in  London  by  E.  Pursell, 
and   doubtless  much  of  this   sort  of  thing  happened. 

It  was  not  until  1822  that  the  first  important  work  illustrated  by  litho- 
graphy was  commenced  :  Britanjiia  De/ineata,  a  ponderous  folio,  dedicated  to 
George  IV,  and  illustrated  by  Hullmandel,  Westall,  Prout,  and  Harding,  who, 
appearing  for  the  first  time,  surpasses  in  freedom  the  older  men.  Prout  had 
already  done  much  work,  nothing  more  notable  than  his  drawing  on  paper 
for  Senefelder's  book,  which  is  valuable  evidence  as  to  the  contemporary  use 
of  transfer  paper.  Only  one  part — the  County  of  Kent — of  the  Britannia 
De/ineata  appeared.  But,  indeed,  save  in  the  case  of  Harding,  Prout, 
Haghe,  and  Owen  Jones,  scarcely  any  of  the  great  works  projected  in  litho- 
graphy were   carried   out  on    the   scale  originally   planned. 

In  1S24  Hullmandel  issued  a  catalogue  of  works  he  had  printed  for 
Ackermann,  which  included  Prout's  Rhine,  four  parts.  Foreign  Vieivs,  and 
Drawing  Books,  as  well  as  separate  drawings  by  Ward,  Westall,  Carbonnier, 
Lane,  and  a  copy  of  a  View  of  Leeds,  drawn  by  Turner,  and  put  on  stone 
by  J.  D.  Harding.  Turner,  as  far  as  is  known,  and  as  has  been  already 
stated,  never  made  a  lithograph.  A  number  of  his  drawings  were  copied 
by  Harding,  Simpson,  and  others,  while  important  chromo-lithographs,  after 
his  oil  paintings  and  water  colours,  were  done  by  Carrick.  But  there  is  no 
evidence  that  he  ever  worked  on  paper  or  stone,  nor  is  it  exact  to  say,  as 
Mr.  Rawlinson  says,  that  some  of  these  chromo-lithographs  published  in  1852 
were  among  the  earliest  chromo-lithographs  published  in  England,  as  there 
are  chromo-lithographs  in  Senefelder's  book,  in  which  the  process  of  chromo- 
lithography  is  described. 

Though  progress  was  manifest,  Hullmandel,  in  his  JManual  of  Lithography, 
1820,  regretted  the  contemptuous  manner  in  which  the  art  was  treated  :  "  Litho- 
graphy has  many  enemies,  has  been  cried  down  most  unaccountably  by  several 
painters  of  eminence  as  a  degrading  art,  the  means  of  bringing  the  works  of 
artists  into  contempt."  No  less  serious  drawback  was  the  fact  that  as  soon 
as  the  German  stones  were  brought  into  England  a  heavy  duty  was  laid  on 
them,  almost  prohibitive,  while  the  duty  was  taken  off  foreign  prints  ;  and  this, 
possibly,  was  the  beginning  of  English  lithography  being  made  in  Germany. 
Hullmandel   could  only  hope  that   "lithography  will  some  day  meet  in   England 

I02 


G.  Cattermole  :  A  Death-Blow. 


EARLY    ENGLISH 

with  that  support  it  deserves  and  obtains  abroad,  and  that  those  persons  who 
call  it  a  mean  art  will  use  a  portion  of  the  great  and  real  talent  they  possess 
towards  producing  specimens  which  may  at  least  equal  what  is  now  done  on 
the  Continent.  For,"  he  adds,  "works  of  art  meet  with  a  degree  of  encourage- 
ment in  France  quite  unknown  in  England.  Prints  of  every  description  tind 
purchasers  there  among  those  classes  of  society  which  in  England  view  them 
with  as  much  unconcern  as  they  would  hieroglyphics,  perceiving  nothing  in 
the   finest  prints  but   black  lines  on   white   paper." 

English  artists  never,  at  any  time,  shared  the  enthusiasm  of  French 
artists,  and  it  was  so  long  before  they  realized  what  could  be  got  out  of  the 
stone  and  Senefelder's  bit  of  greasy  chalk,  that  the  first  perfectly  successful 
lithographs  published  in  England  appear  in  Lane's  Portfolio  of  Illustrations 
of  John  Philip  Kemble  in  the  Various  Parts  he  has  Sustained,  issued,  through 
Dickinson,  as  late  as  October,  1826.  There  are  eight  drawings,  small, 
finished  in  the  beautiful  fashion  Lane  invented  in  English  lithography. 
Every  advantage  is  taken  of  the  lithographic  quality,  and  for  the  first  time 
delicacy  of  handling  is  combined  with  strength  of  colour.  It  is  a  notable 
volume,    though   virtually  unknown. 

By  1826  Engelmann  had  started  a  shop — whether  he  had  a  press  there 
is  uncertain — at  92,  Dean  Street,  Soho,  under  the  name  of  Engelmann,  Graf, 
Coindet  &  Co.,  and  issued,  for  one  thing,  Richard  Westall's  Poi'tfolio  of 
Drawings  of  Xetlcy  Abbey. 

About  this  time,  just  as  there  were  so  few  good  wood-engravers  in 
France  that  French  publishers  had  most  of  the  illustrations  for  their  books 
engraved  in  England,  so  it  seemed  that  '  Baron  Taylor  could  not  find  land- 
scape artists  in  France  who  could  put  his  sketches  on  stone  for  his  great 
work.  In  the  first  volumes,  in  fact  in  the  whole  series,  there  are  many 
drawings  by  Prout  and  Harding  and  Bonington.  Some  of  the  drawings  were 
printed  in  England  by  Hullmandel,  the  sketch  being  probably  sent  over. 
Thus,  in  lithography,  as  in  wood-engraving,  there  was  a  constant  international 
exchange  of  artistic  ideas  and  work.  With  education  and  refinement  artists 
and  publishers  have  become  more  narrow  and  insular.  It  was  during  this 
decade  that  many  of  the  great  French  lithographers  were  at  work  in  England: 
Gericault,  Charlet,  Lami,  Monnier.  But  they  were  not  much  more  popular 
than  Gavarni  was  later.  An  anonymous  writer  {^Library  of  the  Fine  Arts,  or 
Repository  of  Painting,  Sculpture,  Architecture,  and  Engraving,  London, 
1 83 1,  vol.  i),  considering  the  state  of  lithography  in  England  in  1831,  says 
that  "the  French  lithographs  are  pretty  well  known,  and  form  the  most 
graceful  trifles  of  our  print  shops,"  but  laments  that  Gericault  had  no  success. 
It  is  amusing  to  learn  from  the  same  source  that  then,  as  now,  the  prints 
that  sold  were  those  that  "  ministered  to  the  maudlin  and  vitiated  taste  of 
the    public    for     affectations     of    sentiment    and    prettiness."     Other  foreigners, 

10;  E* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

German  and  Italian,  had  settled  here;  Scharf  had  produced  his  huge  Vieius 
of  the  Approaches  to  London  Bridge,  his  Portfolio  at  the  Zoo,  and  his 
Drawing  Books.  The  Guaci  family,  M.,  Paul,  and  William,  were  known  for 
portraits  and  landscapes,  the  father,  M.,  having  made  a  notable  portrait  of 
James  Thomson  after  Hogarth,  about  1820.  And  Engelmann  brought  over 
as   his   partner   Hanhart,   the   founder  of  the  firm. 

While  the  Napoleonic  Legend  was  taking  root  in  France,  in  England  the 
Briton  was  immortalizing  sport,  the  British  god.  Aiken,  whose  work  in  aqua- 
tint is  remembered,  did  at  least  one  bo.xing  bout,  and  John  Doyle,  H.B., 
also  did  sporting  subjects,  some  rather  freely,  before  he  produced  his  tiresome 
volumes  of  political  caricatures.  But  the  delineation  of  sport  in  Engl?incl  has 
been  nearly  always  the  duty  of  the  artless,  and  is  of  no  interest  to  any  one 
but  the  people  and  the  animals  delineated.  The  British  sporting  character 
is  mortally  offended  by  the  slightest  suggestion  of  art.  James  Ward's  horses 
are  delightful  exceptions,  Thomas  Fairland's  work  in  lithography  is  not  to  be 
ignored,  while  it  must  not  be  forgotten  that  Gericault's  Boxers  and  nearly 
all  his  studies  of  horses  were  made  in  England,  where,  being  artistic,  they 
were  a  failure. 

From  1830  to  1840  comparatively  few  important  English  books  illustrated 
by  lithographs  were  printed.  In  1S32  John  Gould  commenced  the  first  of 
his  numerous  volumes — more  than  forty — on  the  Birds  of  the  World.  The 
drawings,  printed  by  Hullmandel,  Walton,  Hart,  and  Walter,  were  made  by 
his  wife,  Lear,  Richter,  Hart,  and  J.  Wolf.  If  this  magnificent  series  had 
the  slightest  artistic  merit  it  would  be  the  most  wonderful  collection  of 
lithographs  in  the  world.  Scientifically,  and  from  a  collector's  point  of  view, 
it  may  be  of  inestimable  value.  But  artistically  it  is  a  bore.  The  whole  of 
these  ponderous  volumes  are  not  worth  the  cheapest  Japanese  Sketch  Book, 
and  the  same  is  true  of  the  English  edition  of  Audubon's  Birds  in  Amej^ica, 
and  other  works,  for  which  lithography  was  and  is  still  used.  In  1836,  Owen 
Jones  began  the  publication  (not  completed  until  1845)  of  his  great  book  on 
the  Alkauibra,  the  first  work  on  such  lavish  scale  ever  projected  in  chromo- 
lithography,  and  still  the  most  monumental  publication  of  the  kind.  The  task 
presented  so  many  difficulties  that  Owen  Jones  could  not  induce  the  ordinary 
chromo-lithographer  to  make  the  venture,  and  he  was  obliged  to  set  up  his 
own  presses,  with  the  aid  of  Day  and  Haghe,  and  train  his  own  draughtsmen 
and  printers  in  rooms  taken  for  the  purpose  in  the  Adelphi.  No  wonder  that 
the  work,  now  to  be  had  for  ten  guineas,  was  published  at  one  hundred  and 
fifty.  Most  of  the  designs  are  flat  decorations,  plans,  elevations,  and  examples 
of  ornament.  Their  discussion  belongs  to  a  history  of  chromo,  not  original 
lithography.  The  Arundel  •  chromo-Hthographs  of  a  later  date  may  also  be 
dismissed,   as  these  prints,  so  highly  prized  by  the  artless,  are  in  almost  every 

'  The  Arundel  Society's  reproductions. 
106 


John'  Liwell,  Jux.  :  The  So.nn'ET. 
After  Mul  ready. 


EARLY    ENGLISH 

case  but  the  copies  on  stone  of  the  professional  Hthographer,  who  probably 
never  saw  the  pictures,  of  water-colour  drawings  by  the  professional  copyist 
who  knew  nothing  about  chromo-lithography.  Being  totally  devoid  of  character 
they  are  the  delight  of  the  cultured  classes.  No  one,  but  the  artless  and  the 
ignorant,  could  prefer  them  to  the  simple  black  and  white  lithographs  after 
the  Masters  by  Hanfstangl,  di  Craene,  or  Alouilleron,  and  the  photograph 
is  to  be  preferred  to  either.  The  only  merit  about  such  lithographs  is  that 
they  possess  no  artistic  merit  whatever.  About  1850  many  large  single  prints 
of  the  Great  Exhibition  and  similar  subjects  were  published. 

The  great  period  of  British  Lithography  was  from  about  1845  to  1865, 
a  period  when  less  was  done  in  France.  Unfortunately  the  volumes  issued 
mainly  by  Graves,  Colnaghi,  McLean,  and  Day,  are  seldom  dated,  and  it  is 
therefore  impossible  to  tell  when  they  were  issued.  The  publishers  had  to 
contend  with  endless  prejudice.  To-day,  in  many  cases,  it  Is  the  publishers 
who  are  prejudiced.  An  instance  of  the  former  feeling  is  in  Wilkie's  letters 
from  Madrid,  in  1827,  to  Sir  Thomas  Lawrence,  urging  the  purchase  of  the 
lithographs  of  the  Prado  pictures.  "  If  lithography  be  an  objection,"  no 
other  engravings  had  been  made  ;  it  was  a  choice  between  the  lithographs 
or  nothing.  The  fact  is,  there  never  was  such  a  snobbish  age  in  art  in 
England.  Younger  firms  advertised  that  they  would  not,  like  the  print-sellers 
of  the  old  school,  publish  a  lithographic  print.  Wilkie,  Mulready,  and  the 
other  Academicians  could  hardly  be  expected  to  make  lithographs:  "It  would 
be  vulgar,  levelling  themselves  to  George  Cruikshank !  !  !  "  Thackeray  refers 
more  politely  to  the  same  prejudice  :  "  If  we  might  raise  a  humble  supplication 
to  the  artists  in  our  own  country  of  similar  merit,"  he  writes  from  Paris  in 
1S40,  after  looking  at  the  lithographs  of  the  Vernets,  the  Deverias,  "the 
admirable  Roqueplan,"  Raffet,  Monnier,  Charlet,  Decamps — and  addressing 
himself  to  such  men  as  Leslie,  Maclise,  Herbert,  and  others — the  worth- 
lessness  of  Thackeray's  art  criticism  was  never  more  hopelessly  exposed. 
To  compare  these  forgotten  nonentities  with  the  Frenchmen  he  names 
is  charming — "it  would  be,"  he  goes  on,  "that  they  should,  after  the 
example  of  their  French  brethren,  and  of  the  English  landscape  painters,  take 
chalk  in  hand,  produce  their  own  copies  of  their  own  sketches,  and  never 
more  draw  a  single  Forsaken  One,  Rejected  One,  Dejected  One,  at  the 
entreaty  of  any  publisher,  or  for  the  pages  of  any  Book  of  Beauty,  Royalty, 
or  loveliness  whatever."  But  lithography  was  a  cheap  method  of  multiplying 
their  designs.  They  were  afraid  to  lose  caste  if  they  stooped  to  cheapness. 
Snobbishness  was  the  obstacle  to  the  success  of  lithography,  and  Thackeray 
admits-  as  much  when,  to  suggest  a  reason  for  the  English  indifference  to  it, 
he  says,  "  With  ourselves,  among  whom  money  is  plenty,  enterprise  is  so 
great  and  everything  matter  of  commercial  speculation,  lithography  has  not 
been    so    much    practised    as   wood    and    steel    engraving,   which,    by  the  aid    of 

109 


LITHOGRAPHY    AND    LITHOGRAPHERS 

great  original  capital  and  spread  of  sale,  are  able  more  than  to  compete  with 
the  art  of  drawing  on  stone."  It  was  a  question  of  money,  not  of  art. 
Eventually  a  high  price  was  put  upon  collections  or  albums  of  lithographs 
to  secure  a  sale.  To-day  the  attitude  of  most  British  artists  is  more  frank, 
though  the  same.  Lithography  does  not  pay,  and  most  British  artists  do 
nothing  that  does  not   pay,   if  they  can   help   it. 

However,  there  were  artists  who  devoted  themselves  to  lithography,  and 
Prout  was  one  of  the  earliest.  His  first  dated  lithograph  is  the  drawing  on 
transfer  paper  In  Senefelder's  treatise,  done  and  described  as  an  example  of 
pen-and-ink  work.  Numbers  of  others  were  published  by  him  the  next  year, 
1820,  and  he  contributed  to  many  of  Hullmandel's  publications.  But  it  was 
not  until  much  later  that  he  produced  the  works  Ruskin  was  good  enough 
to  recommend,  if  foolish  enough  to  group  as  objects  of  study  with  the 
drawings  of  J.  F.  Lewis,  which,  both  as  drawings  and  lithographs,  are 
commonplace.  But  considering  the  lithographs  that  had  been  made  when 
Ruskin  brought  out  his  Elements  of  Dravoing  in  1S57,  as  an  authority  upon 
the  subject  he  Is  amusing :  "  Let  no  lithographic  work  come  into  the  house 
If  you  can  help  It,"  the  British  Prophet  of  Art  writes,  "  nor  even  look  at  any 
except  Prout's  and  those  sketches  of  Lewis's."  Whether  Ruskin,  at  this 
date,  had  forgotten  Harding,  his  former  drawing-master  and  friend,  or  had 
never  heard  of  Bonington  and  Lane,  Isabey  and  Paul  Huet,  it  would  be  hard 
to  say.  But  there  was  a  time  when  he  found  Harding  of  service,  if  only  as 
a  travelling  companion,  and  could  write  that  no  one  at  the  moment  "  was 
comparable  to  him  for  power  of  representation  in  a  sketch  from  nature,  and 
for  natural  and  unaffected  conception  In  the  study."  And,  curiously,  for  his 
Illustrations  to  the  Stones  of  Venice — published  in  1851 — he  was  employing 
J.  Rosenthal  to  lithograph  his  designs.  Rosenthal's  work  Is  excellent,  and 
Ruskin  is  rather  severe  upon  his  poor  artist  and  also  upon  T.  Boys,  who 
lithographed  some  of  the  Examples  of  Venetian  Architecture,  Boys  copying 
Ruskin's  drawings  —  but  then  there  is  no  accounting  for  Ruskin.  He 
employed  any  number  of  professional  lithographers  later.  Prout  and  Harding 
were  of  that  fortunate  race  who  lived  before  cheapness,  education,  and 
photography,  which  mean  art  for  the  people,  were  preached  and  practised. 
If  these  artists  went  abroad  and  returned  with  a  portfolio  of  drawings  they 
could  publish  them  as  lithographs  or  as  metal  engravings,  and  there  was  a 
public  to  buy  them.  To-day,  the  man  who  might  once  have  bought  Harding's 
or  Prout's  books  makes  his  own  snapshots  or  Indulges  in  post-cards. 
Prout's  Drawing  Books  were  cheap,  but  his  Portfolios  were  issued  by  Graves 
and  other  printsellers  at  from  four  to  six  guineas  each.  To-day  his 
drawings  can  be  enjoyed,  but  it  must  be  confessed  that,  well  as  he  puts 
his  subjects  together  in  his  France,  Sivitzcrland,  and  Italy,  or  in  his 
best    collection    of   all.     Sketches    in    Flanders     and    Germany,     the    trembling, 

1 10 


i-^^ 


■5V 


iii-iir-*irtifiliihi 


R.  J.  Lane  :   Portrait  of  Mrs.  Jameson. 


EARLY    ENGLISH 

tottering  line  supposed  to  show  the  touch  of  time  is  mannered,  monotonous, 
the  work  of  a  copyist,  even  if  of  himself.  His  figures,  though  admirably- 
grouped,  are  devoid  of  character,  as  one  sees  in  his  JMicrocosni,  and  many 
of  his  architectural  subjects,  so  highly  praised  by  architects  on  the  advice  of 
Ruskin,  are  woefully  incorrect.  If  he  stands  out  with  distinction  in  Brita^mia 
Deiineata,  he  Is  inconspicuous  in  the  Voyages  Pittoresques,  where  it  Is  useful 
to  study  him  to  form  a  just  idea  of  his  ability,  which  was  great,  but  exaggerated 
by  his  critics.  However,  it  is  by  this  sort  of  criticism  that  English  art  has 
become  supreme   in    the   opinion   of  English   authorities. 

His  contemporary,  Bonington,  is  a  truly  distinguished  artist,  though  he 
seems  at  one  period  to  have  taken  Prout  as  his  model.  There  are  architec- 
tural drawings  by  him  that  might  almost  pass  for  Prout's.  But  they  were 
exceptions,  and  in  his  short  life  Bonington  developed  a  style  that  for  brilliancy 
and  refinement  places  him  at  the  head  of  English  lithographers.  His  prints 
are  few;  fifty-four  is  the  number;  and  about  a  fourth  were  copies.  His 
original  lithographs,  as  a  rule,  are  as  full  of  individuality  and  character  as- 
his  paintings.  Like  Prout,  he  used  stone  chiefly  for  architectural  subjects  ;. 
but,  unlike  Prout,  he  succeeded  in  o-ivincr  not  only  the  architecture  in  all  its 
beauty  and  elaboration,  but  the  atmosphere  that  enveloped  it,  the  sunshine 
or  shadow  that  transformed  it.  He  did  not  put  away  with  his  paints  the 
new  problems  he  was  working  out ;  the  world  for  him,  whether  he  recorded 
his  impressions  with  paint  or  with  chalk,  was  full  of  air  and  light  ;  and  the 
picturesqueness  of  medisevalism,  of  the  crumbling  old  church  or  tumble-down 
house,  appealed  to  him  as  powerfully  as  to  the  ardent  young  Frenchmen, 
disciples  of  Hugo,  who  sang  his  praise.  His  architectural  work  Is  found  in 
the  Petite  Nonnandie,  or  Architecture  du  Moyen-Age — these  prints,  ten 
in  number,  having  become  very  rare  ;  In  the  Vues  Pittoresques  en  Ecosse, 
published  in  Paris  in  1S26,  and  then  as  Scotch  Sketches  drazvii  on  Stone,  by 
Colnaghi,  in  London,  in  1829,  after  his  death  ;  and  in  the  Voyages  Pittoresques, 
Baron  Taylor  having  hoped  to  profit  by  his  co-operation  until  the  completion 
of  this  huge  task.  He  drew  for  it  only  fourteen  subjects,  but  they  are  his 
best  work.  All  have  the  lightness,  the  delicacv,  Delacroix  thought  such  a 
virtue.  But  among  the  artists  of  the  Voyages  Pittoresques,  Bonington's 
Gros-Horloge  does  not  impress  one  so  much,  amazed  as  one  is  with  it  when 
seen  separately.  Bonington,  it  has  been  said,  suffered  by  the  weak  printing 
of  the  early  lithographers.  But  none  of  his  fellow  lithographers  fared  better. 
The  averag^e  was  hicrh  in  France,  and  there  Bonington  holds  his  own  with  the 
masters,  and  his  lithographs  are  to  be  treasured  as  the  most  perfect  examples 
of  the  art  produced  by  an  Englishman. 

James  Duffield  Harding  was  the  typical  British  lithographer,  producing 
not  an  occasional  print,  but  devoting  himself  to  the  art.  Of  late  Harding  is 
too  often    remembered  as   the   man   who  made  trees  that  look    as  if  they  were 

11^1 


LITHOGRAPHY    AND    LITHOGRAPHERS 

cut  out  of  paper,  and  who  covered  the  stone  with  a  tint  so  dehcate  that  it 
seems  in  danger  of  being  brushed  away.  He  was  mannered  ;  but  his  was  a 
pleasing  manner,  and  he  was  not  a  bit  more  so  than  Prout.  His  hand,  or 
rather  his  dehcate  fingers  were  revealed  in  everything  he  did,  but  his  style 
was  less  aggressive,  less  disagreeable  than  Prout's.  Both  were  great  tech- 
nicians, masters  of  all  sorts  of  mediums.  But  Harding  grave  more  of  his  time 
and  attention  to  lithography,  and  he  had  a  keener  eye  than  Prout  for  the 
picturesqueness  of  Europe,  when  it  was  most  pictorial.  Scarcely  a  book  was 
published  in  which  his  name  did  not  appear,  either  as  the  original  artist,  the 
reproductive  lithographer,  or  the  man  who  turned  the  amateur's  sketch  into 
a  thing  of  beauty  or  prettiness.  Not  a  little  of  the  credit  Ruskin  gives  to 
Lewis  and  others  belongs  to  Harding,  and  it  is  probable  that  some  of  the 
charm  of  Muller  is  due  to  him.  In  his  Park  and  Forest,  1844,  published  by 
McLean,  he  made  the  most  distinguished  use  of  Hullmandel's  lithotint,  a 
method  of  washing  on  the  stone. '  In  Sketches  at  Home  and  Abroad  (undated, 
but  the  drawings  were  made  mainly  in  1834  and  1S35)  are  some  of  Harding's 
finest  compositions,  which  helped  to  develop  tint-work.  They  are  admirable 
renderings  of  pencil  drawings  on  tinted  paper,  heightened  by  Chinese  white, 
printed  from  a  second  stone  or  with  the  lights  scraped  or  etched  out  in  the 
tint.  It  may  be  said  they  are  no  better  than  drawing-booky  models,  but  no 
one  to-day  could  get  more  local  colour,  character,  and  picturesqueness  into  a 
lithograph.  The  world  that  laughs  at  Harding's  "old-fashioned"  drawings 
some  day  will  return  with  admiration  to  wonder  why  it  ever  sneered  at  them. 
The  most  imposing  of  the  huge  portfolios  of  lithographs  is  Scotland  Delineated, 
and  many  of  the  illustrations,  mostly  stumped,  were  by  Harding.  It  was 
published  by  J.  Hogarth  between  1847  and  1852,  appearing  in  fifteen  parts. 
The  drawings  were  by  Turner,  Harding,  Roberts,  Stanfield,  Cattermole, 
Carrick,  and  Nash,  and  lithographed  by  Harding,  Carrick,  Cattermole, 
Simpson,  Mouilleron,  Sabatier,  and  Ciceri.  Many  of  these  prints,  though  they 
bear  the  artists'  signatures,  are  the  work  of  copyists. 

Other  lithographers  were  Nash,  Boys,  Tayler,  Cattermole,  Barnard,  and 
Lewis.  The  most  accomplished  was  George  Cattermole,  whose  use  of  lithotint 
was  masterly  ;  in  his  lithotints,  as  in  Harding's,  you  seem  almost  to  see  the 
actual  washes.  His  men  in  armour,  hunting  scenes,  tournaments  and  jousts,  in 
fact,  his  romantic  renderings  of  mediccval  subjects,  are  the  best  done  in  England. 
Boys,  known  for  his  Viezvs  of  Paris,  Nash,  and  Frederick  Tayler  were  praised 
by  the  prophet  of  their  own  generation,  S.  C.  Hall,  who  not  infrequently  wrote 
the  te.xt  that  accompanied    the  drawings,   and    so    blew    their  trumpet   and    his 

'  In  connection  with  this  lithotint  and  Harding's  use  of  it,  Hulhnandel,  now  getting 
old,  crops  up  again.  Hullmandel  was  compelled  to  protect  his  patents,  and  was  dragged 
into  court,  where  Harding  made  a  lithotint  and,  we  believe,  printed  it,  no  doubt  to  the 
confusion  of  all  parties.     Hullmandel,  however,  won  his  claim  easily. 

•   114 


Q 


z 

o 

a 


EARLY    ENGLISH 

own.  But  Nash's  Baronial  Halls  of  England  ^nd  Historic  Mansions  are  scarcely 
worthy  of  the  praise  lavished  upon  them  by  his  contemporaries,  or  the  exces- 
sive price  they  now  bring  in  the  sales-room,  though  they  are,  technically, 
extraordinary  and  probably  accurate  renderings  of  various  buildings  ;  those  in 
colour  are  remarkable  examples  of  chromo-lithography.  Sidney  Cooper  interested 
himself  in  animals,  especially  sheep,  and  no  doubt  in  this  way  acquired  the 
graceful  command  of  wool  which  was  the  astonishment  of  the  public  for  nearly 
a  century.  He  published  two  portfolios.  The  Hop  Gr-ound  and  Studies  of 
Rustic  Figures,  in  1835  or  1837.  H.  B.,  the  father  of  Dicky  Doyle,  turned 
out  an  enormous  series  of  caricatures  of  men  of  the  time,  which  now  seem 
sadly  wanting  in  merit  and  interest,  but  were  once  appreciated  because  the 
likeness  was  plain  to  the  most  unobservant.  Boys'  excellent  work  after 
Ruskin  has  been  referred  to — it  was   mostly  in  colour. 

It  is  impossible  to  name  every  artist  who  tried  stone.  One  or  more  prints 
can  be  traced  to  David  Cox  and  John  Linnell.  The  sons  of  Linnell  copied 
the  Westminster  cartoons,  and  John  Linnell,  jun.,  reproduced,  with  more  charm 
than  the  originals,  pictures  by  Mulready  and  others.  Linnell's  rendering  of 
Mulready's  Sonnet  is  not  only  far  finer  than  the  original,  but  technically  one  of 
the  most  perfect  of  English  lithographs.  It  was  published  in  1848  by  the  Society 
of  Arts,  which  again  returned  to  the  encouragement  of  lithography  in  this  practical 
fashion,  as  has  been  stated.  A  series  is  ascribed  to  Cotman,  and  the  prints  are 
signed  with  his  name.  They  are  scarcely  successful,  they  give  little  idea  of  his 
work,  and  they  are  probably  copies.  In  portraiture  England  had  two  artists, 
Lane  and  Vinter,  of  distinction,  while  at  times  Bauguinet,  J.  H.  Lynch,  and 
W.  Dumond  rank  with  Achille  Deveria  at  his  best.  Much  of  their  work 
was  reproductive.  They  copied  the  pictures  of  the  popular  and  the  Court 
painters  of  the  day.  Lane  produced  a  series  of  reproductions  of  sketches  by 
Gainsborough  which  are  very  interesting.  But  popular  personages  then  had 
themselves  lithographed,  as  in  our  time  they  fall  a  prey  to  the  photographer, 
and  Lane  and  Vinter  have  left  many  original  portraits.  These  are  worked  out 
with  orreat  elaboration.  Susreestion  and  sketchiness  would  not  have  been 
understood  by  the  people  they  drew.  But  the  elaboration  is  often  beautiful, 
without  being  pretty,  and  is  always  accomplished  and  workmanlike,  for  the 
knowledge  both  artists  possessed  of  lithography  and  all  its  methods  was  com- 
plete. Vinter  held  for  many  years  the  post  of  Lithographer  to  the  Queen, 
while  Lane  is  the  only  lithographer  ever  made  an  Associate  of  the  Royal 
Academy. 

Most  English  lithographs  were  published  in  expensive  albums  and  portfolios. 
But  cheap  papers  and  magazines  also  used  them  for  illustration,  though  with 
hardly  the  success  of  French  papers  illustrated  by  lithography.  The  Parthenon, 
printed  on  a  "  typo-lithographic  press,"  possibly  the  predecessor  of  the  coming 
offset  press,   appeared  in    1S26,   and    ran    for  a   few   numbers.     Both    letterpress 

117 


LITHOGRAPHY    AND    LITHOGRAPHERS 

and  illustrations  were  printed  at  the  same  time  on  the  same  press,  the  type 
and  drawing  in  line  being  apparently  transferred  to  stone.  The  result  is  not 
at  all  bad.  A  second  journal  was  The  Mirror,  also  1826,  brought  out  in 
Glasgow.  Some  years  later  McLean  issued  his  Monthly  Sheet  of  Caricatures. 
The  first  scheme  for  Punch,  the  London  Charivari,  was  that  it  should  borrow 
not  merely  the  name  but  the  method  of  illustrating  by  lithography  from  its 
French  model.  This  part  of  the  scheme,  however,  was  never  carried  out. 
Most  of  these  periodicals  were  remarkable  only  for  the  shortness  of  their 
lives  or  the  triviality  of  their  contents.  There  never  were  papers  like 
L' Artiste  or  Le  Charivari  published  in    England. 

No  man  had  more  to  do  with  organizing  the  system  of  publishing  the 
large  and  expensive  volumes  and  portfolios  issued  in  England  than  Louis 
Haghe.  He  came,  in  1823,  to  London  from  Belgium.  He  had  studied  his 
profession  in  his  own  country.  In  London  he  soon  went  to  work  with  the 
printer  Day,  and  finally  became  a  member  of  the  firm.  He  contributed  many 
drawings  to  Baron  Taylor's  book,  for  which  he  received  medals  in  Paris.  His 
chief  work  was  Picturesque  Sketches  of  Belgium,  1845,  published  by  Graves, 
and  justly  praised.  But  one  feels  that,  fine  as  are  some  of  the  designs,  they 
are  the  work  of  the  highly  trained  specialist  rather  than  the  spontaneous 
personal  artist.  He  seems  to  have  thought  more  of  getting  a  beautiful  flat 
tint  than  character  into  his  work.  But  this,  being  technically  perfect,  was 
enormously   popular. 

Wilkie's  Oriental  Sketches,  Roberts'  Holy  Land,  and  Mtiller's  Age  of 
Francis  I  \N&r&  among  the  other  large  portfolios.  Wilkie's  Oriental  a.nd  Spanish 
Sketches  were  lithographed  in  1843  ^"d  1847  by  J.  Nash,  and  published  by 
Graves.  Save  for  some  of  the  slighter  portraits,  there  is  little  merit  or  character 
in  them.  Roberts'  Holy  Land,  which  in  1840  publishers  were  prepared  to  issue 
at  a  hundred  guineas  coloured,  or  fifty  plain,  for  the  sale  of  which  it  was  pro- 
posed in  1842  to  run  an  Art  Union,  but  which  was  finally  sold  as  a  remainder 
in  1853,  was  the  work,  not  of  Roberts,  but  of  Harding  and  Haghe.  The  painters 
made  sketches  which  the  lithographers  translated  as  they  wanted.  Haghe 
worked  eight  years  upon  the  series,  though,  for  some  unknown  reason,  credit 
is  generally  given  to  Roberts  and  Miiller.  Roberts  said  of  the  lithographs  of 
his  drawings  for  the  Holy  Land  that  "  Haghe  has  not  only  surpassed  himself, 
but  all  that  has  hitherto  been  done  of  a  similar  nature.  He  has  rendered  the 
views  in  a  style  clear,  simple,  and  unlaboured,  with  a  masterly  vigour  and 
boldness  which  none  but  a  painter  like  him  could  have  transferred  to  stones." 
Extravagant  as  is  his  praise,  Roberts  probably  meant  it,  for  with  the  lithographers 
who  reproduced  his  Picturesque  Sketches  in  Spain,  1837,  he  showed  his  dissatis- 
faction in  the  most  practical  manner,  working  on  almost  all  of  the  stones,  re- 
drawing two  of  them  entirely.  The  book,  however,  is  disappointing.  Haghe's 
most  elaborate  plate  in  colour  was  after  Roberts'  Destruction  of  Jerusalem.     The 

118 


EARLY    ENGLISH 

rapidity  with  wliich  lie  did  the  work  was  unparalleled,  accordin;^  to  Roberts 
biographer,  but  the  stone  was  under-etched,  and  few  prints  were  taken 
from    it. 

Robert  Carrick  is  chietly  remembered  for  a  colour  print  after  Turner's 
Vessel  Shoiving  Blue  Lights  at  Sea  (1S50).  All  contemporary  lithographers 
praise  it  unreservedly,  but  it  scarcely  rivals  its  reputation.  Turner  had  nothing 
to  do  with  it  or  with  any  other  lithograph  after  his  work  ;  he  apparently  never 
made  one.  Some  of  Day  and  Haghe's  reproductions  of  his  water-colours,  done 
after  his  death,  are  technically  excellent. 

J.  F.  Lewis  issued  three  portfolios,  The  Alhanibra.  Sketches  of  Spain  and 
Spanish  Character',  and  Sketches  of  Constantinople.  They  are  nothing  like  as 
elaborate  as  his  water-colours,  but  much  more  freely  drawn.  The  Spanish 
sketches  alone  are  entirely  by  Lewis.  The  illustrations  to  the  Constantinople 
are  from  the  original  sketches  of  Coke  Smythe,  and  the  sketches  of  the  Alhavibra 
were  re-drawn  by  Harding,  Lane,  and  W.  Guaci,  as  well  as  himself.  Lewis 
drew  only  eight  out  of  the  twenty-eight  lithographs.  Ruskin's  praise,  therefore, 
might  as  well  have  been  given  to  Harding  or  any  of  the  rest  as  to  Lewis. 
Few  of  the  drawings,  though  some  are  technically  accomplished,  are  of 
merit. 

Scotland  has  always  taken  a  prominent  part  in  lithographic  work.  But 
this  work  has  been  mainly  commercial,  and  although  Scotch  lithographers  claim 
that  lithography  was  introduced  into  Edinburgh  and  Glasgow  before  it  was 
practised  in  London,  there  have  been  no  great  artistic  results.  Lithography 
does  flourish  in  Scotland,  but  commercially.  There  never  has  been  a  notable 
Scotch  publication  illustrated  by  lithography.  Several  Scotch  artists  have 
commenced  as  lithographers,  among  whom  may  be  mentioned  Sir  George  Reid, 
William  Simpson,  George  McCulloch,  and  Mr.  R.  \Y.  Allan.  In  Scotland,  from 
the  earliest  times,  endeavours  were  made  to  improve  and  develop  transfer  paper, 
especially  by  the  firm  of  Maclure  and  Macdonald.  The  best  transfer  paper  made 
to-day  and  used  by  artists  is  known  as  a  Scotch  paper.  But  it  is  made  in 
London  by  Cornelissen.  On  the  occasion  of  the  anniversary  of  Senefeider's 
birth  The  Lithographer  (January  15th,  1874)  published  a  drawing  on 
Maclure  and  Macdonald's  paper  as  an  example  of  the  highest  form  and 
greatest  development  of  lithography.  William  Simpson  is  the  Scotchman 
who  made  the  most  distinguished  name  as  a  lithographer — no  less  than  as 
the  first  war  correspondent.  He  began  in  Glasgow  in  the  lithographic  office 
of  Allen  and  Ferguson.  Coming  up  to  London,  he  worked  for  Day  and  Haghe, 
and  in  1S54  was  sent  out  to  the  Crimea  by  Colnaghi,  and  on  his  return 
published  his  Sketches  at  the  Seat  of  War  in  the  East  (1865).  They  were 
printed  in  tints,  and  many  were  re-drawn,  some  of  the  best  by  Carrick  and 
E.  Morin.  His  great  work  was  to  have  been  on  India,  for  which  he  was  to 
do  two  hundred  and  fifty  subjects  commissioned  by   Day  and  Son  in    1859.     It 

121 


LITHOGRAPHY    AND    LITHOGRAPHERS 

was  published  in  1S67,  but,  owing-  to  business  complications,  the  original  scheme 
was  modified.  It  had  a  good  title  in  colour,  and  most  of  the  work  is  in  chromo- 
lithography.  In  fact  there  is  greater  use  of  strong  colour  in  this  volume  than 
in  any  of  the  others.  Simpson's  title-page  and  dedication  were  not  of  the 
stereotyped  form  adopted  by  most  of  the  lithographic  albums.  His  India  was 
the  last  of  the  great  lithographic  books  of  travel  produced  here  or  anywhere 
else.  There  are  at  the  present  day  artists  equally  or  better  qualified  to  carry 
on  the  work  of  their  predecessors,  but  no  publishers  with  sufficient  enterprise 
to  give  them  the  chance,  and  few  amateurs  who  can  appreciate  anything  but  the 
photograph  and  the  commercial  etching.  Simpson,  Haghe,  Lear,  and  many 
others  illustrated  an  innumerable  number  of  books  of  travel  by  lithography  ; 
that  is,  the  books  contained  a  few  lithographs  by  these  and  other  artists  from 
the  various  authors'  sketches.  But  scarcely  ever  do  such  illustrations  rise 
above  the  commonplace.  There  may  be  fine  lithographs  hidden  in  these 
illustrated  volumes,   but  if  so  they  are  hard  to  find. 

As  a  method  of  dissemination  of  popular  prints,  lithography  was  almost 
killed  by  the  trade  union,  the  "  litho  artist,"  and  the  limited  company.  This 
was  more  or  less  the  fault  of  the  professional  lithographers,  who  trained  a 
number  of  people  to  do  their  work  for  them.  Haghe's  drawings  were  all  but 
finished  before  he  took  them  in  hand.  Harding,  at  the  end,  merely  knocked 
the  effect  into  his  landscapes.  The  consequence  was  the  evolution  of  the 
"litho  artist,"  the  copyist,  who  could  put  everything  but  art  on  stone.  The 
creative  artist  for  thirty  years,  from  1870  to  1900,  had  no  place  in  the  litho- 
graphic establishment.  To  understand  the  degeneracy  of  the  art  one  need 
only  consult  some  of  the  trade  papers  and  note  how  in  the  beginning  litho- 
graphy was  discussed  as  one  of  the  Fine  Arts,  how  to-day  its  pages  are 
filled  with  reports  of  strikes  and  the  pitiful  whinings  of  the  intelligent  British 
workman,  who  is  not  free  to  do  as  little  as  he  wants  to,  and  that  as  badly 
as  possible.  As  a  profession,  lithography  is  at  a  low  ebb  ;  it  was  throttled  by 
commerce  and  trade  unionism.  As  an  art,  it  will  flourish  again,  as  in  the 
past,  in  the  hands  of  artists  capable  of  practising  it. 


122 


.'mm^'-^-" 


J.  M.  X.  Whistler:   St.  Giles',  Soho. 
Drawn  on   paper. 


THE   REVIVAL 
IN     ENGLAND 


7--a. 


J.  M.  N.  Whistler  :  The  Thames. 
Lithotint,  drawn  on  stone,  printed  by  Way. 


THE   REVIVAL 
IN     ENGLAND 


CHAPTER  V 

IN  England,  after  the  greatest  triumph  came  the  greatest  reaction. 
The  early  lithographers  left  scarce  any  followers.  Printers  remained, 
but  they  were  merely  commercial.  There  were  now  no  publishers  of 
artistic  lithographs.  From  the  "  sixties,"  from  the  starting  of  Once  a  Week, 
and  owing  to  the  success  of  the  illustrated  papers  containing  wood-engravings, 
lithography  steadily  declined.  It  was  simply  a  question  of  the  survival  of  the 
cheapest.  The  lithograph  succumbed  before  the  engraving  that  could  be 
printed  with  the  te.xt.  Even  the  gaudy  chromo  paled  before  the  quiet  wood- 
block. 

Of  the  artists  who  were  the  younger  men,  when  the  career  of  the  great 
lithographers  was  drawing  to  a  close,  few  showed  signs  of  having  even 
heard  there  was  such  an  art.  Ford  Madox  Brown,  who  had  learnt  some- 
thing about  it  when  a  student  in  Antwerp,  is  to  be  credited  with  one 
attempt — a  Lithograph  drawn  from  the  Original  Study  for  Windei-mere. 
Rossetti  experimented  in  an  illustration  for  Soulies  Mimoires  dii  Diable,  and 
in  a  set  of  humorous  playing  cards  never  published.  But  the  only  litho- 
graph by  the  Pre-Raphaelites  or  their  friends  or  their  followers  which  is 
remembered  is  Frederick  Sandys'  Nightmare,  the  burlesque  of  Millais's  Sir 
Isumbras,  one  of  the  most  talked  about  English  lithographs  of  that  or  any 
other  day.  It  was  a  large  design  in  pen  and  ink  on  a  zinc  plate,  and  few 
proofs  were  pulled  at  the  time,  for  Ruskin  and  Holman  Hunt  were  furious. 
It  is  said  that  Ruskin  threatened  to  take  legal  action,  only  he  did  not  know 
who  was  the  artist.  Either  the  plate  turned  up  again  or  a  photo-lithograph 
was  made  from  it,  for  later  on  the  town  was  flooded  with  prints.  Alfred 
Stevens  made  a  lithograph  of  the  pediment  of  St.  George's  Hall,  Liverpool, 
and  doubtless  there  were  others.  But  these  works  marked  the  end  of  the 
first  period  in  England  rather  than  the  revival  of  the  second,  and  so  little 
was  being  done  that  in  1891  William  Simpson  was  justified  in  describing 
lithography  in  a  paper  read  before  the  Society  of  Arts  as  "^  Finished  Chapter 
of  Illustrative  Art." 

Commercially  lithography  flourished.  It  was  taken  over  by  the  business 
man,  and  tied  hand  and  foot  by  the  trade  union.  A  mystery  grew  up  round 
it  greater  than  that   from    which    Senefelder,    in  defiance  of  Andre,    had    freed 

129  F 


LITHOGRAPHY    AND    LITHOGRAPHERS 

it,  while  the  commercial  results  possessed  not  the  slightest  interest  for  the 
artist.  To  him  the  lithograph,  perfect  in  ev^ery  trivial  and  unimportant  detail, 
was  an  eye-sore  ;  in  the  subsequent  triumph  of  the  Christmas  card  and  the 
label,  the  map  and  the  plan,  he  had  no  part.  To  the  eminent  firms  of  litho- 
graphers these  were  palmy  days  ;  the  manufacturer  knew  what  he  liked,  and, 
unabashed  and  unashamed,  he  created  it.  A  microscope  could  find  no  imper- 
fection in  the  stippled  commonplaceness  of  his  prints,  and  no  German  or 
American  had  appeared  to  produce  the  same  effect  by  machinery,  or  the  three- 
colour  process,  at  half  the  price.  But  eventually  even  the  public  rebelled 
against  the  chromo,  the  apotheosis  of  artlessness. 

It  was  a  period  when  art  had  reached  its  lowest  ebb  in  England  ;  when 
the  slightest  performance  of  a  Royal  Academician  was  worth  its  weight  in 
gold  ;  when  painters  could  not  turn  out  their  pictures  fast  enough  ;  when  the 
Academy  floated  along  upon  a  flood-tide  of  universal  applause  ;  when  the 
only  forms  of  genuine,  spontaneous,  original  work  in  the  British  Islands  were 
etching  and  drawing  on  wood,  and  these  were  being  fast  monopolized  by  the 
commercial  print  dealer  and  the  hack  draughtsman  ;  when,  in  a  word, 
English  art  was  another  branch  of  English  commerce.  But  at  this  moment, 
when  things  were  about  as  bad  as  they  could  be,  at  least  one  man  still 
believed  lithography  to  be  a  means  of  artistic  expression,  and  undertook  to 
prove  it.  This  man  was  Mr.  Thomas  Way.  Mr.  Way  was  not  an  artist  but 
a  printer  who  had  preserved  the  traditions  and  knew  the  secrets  of  his  craft. 
In  many  of  the  shops  were  other  printers  who  understood  lithography  as 
thoroughly,  who  had  done  more  work  with  their  own  hands,  who  had  pos- 
sibly been  more  intimately  associated  with  the  craftsmen  of  a  former  genera- 
tion. But  few,  if  any,  were  their  own  masters,  though  they  were  master 
workmen.  Early  in  the  seventies  Mr.  Way  determined  to  do  what  he  could 
to  revive  artistic  lithography,  and  his  methods  were  simple.  In  the  Hogarth 
Club,  in  his  house,  in  his  shop,  at  artists'  studios,  he  preached  lithography, 
and  induced  artists  to  practise  it.  Instead  of  proclaiming  its  difficulties,  he 
furnished  them  with  stone  and  paper,  with  chalks  and  pens,  and  persuaded 
them  to  try  what  they  could  do  ;  and  the  drawings  made  by  Mr. 
Charles  Green  and  others  exist  to  prove  that  there  was  no  difficulty  for 
the  man  who  could  draw.  Some  of  these  were  published  in  the  set  known 
as  Hoga7'th  Sketches,  1874.  But  they  were  experiments.  If  the  artists 
found  no  technical  obstacles  to  surmount,  they  do  not  seem  to  have  felt  that 
the  medium  was  for  them  sympathetic,  responsive.  Their  drawings  might 
just  as  well  have  been  done  on  ordinary  paper  as  on  lithographic  stone. 
Lithography  had  no  fascination  for  them — it  did  not  pay,  and  nothing  further 
happened  until  1878,  during  which  year  Mr.  Way  persuaded  Whistler  to  make 
nine  drawings,  so  T.  R.  Way,  his  son,  says  in  his  catalogue  of  Whistler's 
lithographs. 


C.  H,  Shannon  :  The  Bathers. 
Drawn  on  paper. 


THE    REVIVAL    IN    ENGLAND 

Whistler  found  in  lithography  a  new  means  of  expression.  To  the 
others  it  had  been  something  to  play  with  before  supper  on  a  social  evening. 
To  him  it  was  a  medium  which  would  respond  to  his  most  sensitive  touch, 
and  yield  results  hitherto  unsought.  In  the  tirst  five  of  these  nine  designs 
he  tried  all  the  chief  manners  of  working  on  stone,  and  in  the  fifth  he  solved 
problems  that  no  one  had  before  attempted.  The  Nocturne  and  Early 
Morning  proved  lithotint  a  means  of  e.xpression  perfectly  responsive,  and  from 
that  day  Whistler's  interest  and  delight  in  the  art  never  ceased.  His  suc- 
cess, however,  was  wholly  artistic,  and  that  counts  for  nothing.  For  years, 
if  you  wanted,  you  could  buy  any  oi  these  lithographs  for  sixpence,  some  for 
a  penny  apiece.  Goupil's  publication  of  a  selection  of  them  in  a  portfolio 
called  Notes  in  1887  found  for  years  scarcely  a  purchaser.  And  when  Whistler 
sent  the  proofs  to  the  British  Artists'  Exhibition  of  1887-88  a  ready  writer 
described  them  as  "sketches  in  Indian  ink  and  crayon,  unworthy  the  glories 
of  facsiiiiilc  reproduction,"  thus  contributing  another  episode  to  the  Gentle 
Art  of  Making  Enemies,   where  it  may  be  read. 

Though  Whistler  continued  to  use  lithography  whenever  it  suited  him, 
it  was  long  before  his  success  encouraged  others  to  take  it  up.  Nor  did  the 
publication  of  The  Toilet  and  the  Broad  Bridge  in  Piccadilly  save  that 
journal  from  failure  or  develop  artistic  enthusiasm  at  the  time.  In  The 
Whirlwind  he  published  The  Winged  Hat,  The  Tyresmith,  Maunder  s  Fish- 
shop,  Chelsea  ;  and  in  The  Albemarle,  Chelsea  Rags  ;  but  both  papers  quickly 
went  the  w^ay  of  Piccadilly.  The  public  and  artists  remained  indifferent.  A 
few  men,  like  George  McCulloch,  practised  the  art,  but  his  charming  work  is 
barely  known.  The  Norwich  Art  Circle  for  some  years  illustrated  the  cata- 
logues of  their  Exhibition  by  lithography,  the  most  distinguished  contributor 
being  Mr.  Charles  J.  Watson.  But  these  lithographs  were  mostly  reproduc- 
tions of  other  artists'  paintings,   and  the  catalogues  have  disappeared. 

More  active  interest  was  awakened  among  artists  when  Thomas  R.  Way, 
on  May  5th,  1893,  brought  stones  and  a  press  to  Barnard's  Inn  Hall,  then 
occupied  by  the  Art  Workers'  Guild,  a  society  which  at  that  time  counted 
among  its  members  the  most  brilliant  art  workers  of  England.  It  was  not 
until  this  event  that  they  had  any  idea  of  what  had  been  done  in  lithography 
during  the  previous  fifteen  years  by  Whistler,  or  in  the  past  by  the  great 
lithographers  of  the  world,  or  what  could  be  done  in  the  present.  Way  then 
showed  most  of  the  forty  prints  which  Whistler  had  made,  or  he  has  cata- 
logued as  belonging  to  that  period,  and  also  much  old  work.  He  created  a 
sudden  enthusiasm  by  his  lecture  and  his  exhibition  and  the  chance  he  gave 
the  younger  men  to  work  then  and  there  upon  stone.  That  night  a  portfolio 
of  lithographs  was  made.  Among  the  contributors  were  W.  R.  Lethaby,  George 
McCulloch,  H.  M.  Paget,  Joseph  Pennell,  Frank  Short.  Save  McCulloch, 
none  of  these  men  had  ever  tried  to  make  a  drawing  on  stone  before. 


LITHOGRAPHY    AND    LITHOGRAPHERS 

In  the  same  year  more  practical  encouragement  was  given  to  the  art. 
The  Studio,  in  its  first  number,  issued  as  a  supplement  a  large  lithograph 
by  R.  W.  Macbeth  entitled  Burning  Brush  in  the  Fens.  In  the  third 
volume,  1894,  appeared  Whistler's  Gants  de  Suede,  and  for  some  years  after 
almost  every  number  contained  an  original  lithograph.  To  this  publication, 
and  its  editor,  Mr.  Charles  Holme,  with  the  Ways  who  printed  most  of  the 
drawings,  must  be  given  the  credit  for  the  practical  resurrection  of  the  art. 
The  Studio  was  almost  as  important  a  factor  in  the  development  of  litho- 
graphy in  England  of  the  nineties,  as  Ricourt's  Artiste  was  in  France  of  the 
thirties.  The  other  art  magazines — the  Art  Journal  and  the  Magazijie  of 
Art — later  found  a  place  for  lithographs,  though  more  rarely.  Mr.  Holme  is  also 
responsible  for  the  almost  general  use  of  the  term  Auto-Lithograph,  to  denote 
the  original  lithograph.  This  term  was  invented  many  years  ago,  but  it  had 
been  abandoned.  Much  credit,  too,  is  due  to  Mr.  Charles  H.  Shannon,  who, 
in  the  Dial — "an  occasional  publication"  issued  by  himself  and  Mr.  Ricketts  — 
printed  his  own  lithographs.  As  it  is  only  occasionally  the  Dial  is  dated,  it 
is  impossible  to  say  whether  the  first  number  appeared  before  the  Studio  or 
not,  but  the  second  number  at  any  rate  was  issued  in  1S93.  Mr.  Shannon 
set  up  a  press  in  his  studio  in  the  vanished  Vale  at  Chelsea  and  did  his 
work  on  it.  To  Lesfros  also  credit  should  be  oiven.  He  had  made  litho- 
graphs  before  this,  as  his  portraits  of  Tennyson  and  others  prove,  and  his 
influence  at  the  Slade  School  was  great.  Indeed,  he  had  produced  his  first 
lithograph  in   France  (Z«  Piece  a  Six  Suj'ets)  in    1855. 

In  1895,  the  Centenary  Exhibition  of  Lithography  was  held  in  Paris. 
The  fact  that  English  artists  had  worked  for  Baron  Taylor  was  remembered 
in  France,  negotiations  were  entered  into  with  the  President  of  the  Royal 
Academy,  and  Lord  Leighton  was  asked  to  see  that  England  was  properly 
represented.  No  one  will  be  surprised  to  learn  that  when  the  invitation  was 
laid  before  the  Academy  it  was  found  that  that  august  body  had  never  done 
anything  to  encourage  lithography,  that  of  all  the  distinguished  lithographers 
in  the  country,  but  one,  R.  J.  Lane,  had  been  a  member,  and  he  was  but  a 
humble  Associate  and  was  elected  less  because  of  his  lithographs,  upon 
which  his  fame  rests,  than  because  of  his  drawino-s  and  engravings,  which  are 
now  forgotten.  It  is  merely  another  of  the  unfortunate  discoveries  made  when- 
ever the  Royal  Academy's  connection  with  British  art  is  looked  into.  Official 
British  art,  therefore,  would  have  been  unrepresented  in  Paris,  as  the 
Academy  could  scarcely  be  expected  to  encourage  that  which  it  had  never 
admitted  to  exist,  but  for  Mr.  Alfred  Gilbert,  the  sculptor.  This  artist,  who 
himself  had  worked  in  a  lithographic  ofiice,  with  the  sanction  of  the  Academy 
endeavoured  to  prevent  the  collapse  of  the  British  section.  He  not  only  got 
together  a  fairly  good  collection  of  early  English  lithographs,  but  hurriedly, 
with    the  aid    of    Mr.    Charles    Goulding,    prepared    several    reams    of   transfer 

■34 


William  Rothexstein:   Portraits  of  Ricketts  axd  Shannon. 
Drawn  on   paper. 


THE    REVIVAL    IN    ENGLAND 

paper  and  distributed  it,  more  or  less  judiciously,  round  the  studios  of  London. 
Upon  this  paper  many  Academicians  and  some  outsiders  drew  with  pen,  with 
chalk,  and  with  wash.  So  slight  was  their  knowledge  of  lithography,  that 
several  did  not  know  upon  which  side  of  the  paper  to  work.  But  Mr. 
Goulding,  with  great  skill,  transferred  all  the  drawings  to  stone,  paper  playing 
at  this  critical  juncture  as  important  a  part  in  the  art  of  lithography  as  when 
Senefelder  requested  the  Crown  Prince  of  Bavaria  to  draw  upon  it,  and 
British  lithography  was  saved  by  paper.  It  is  unnecessary  to  add  that  few 
of  these  lithographs  possessed  any  lithographic  quality,  and  many  little  artistic 
merit.  Save  for  the  prints  that  came  from  Macbeth,  Mr.  Sargent,  Mr.  Hartley, 
E.  A.  Abbey,  Mr.  Clausen,  possibly  one  from  Watts,  they  would  not  be 
treasured  as  good  examples  of  the  art  or  even  of  art.  From  other  sources 
Mr.  Gilbert  obtained  more  noteworthy  designs.  P'ull  justice  was  done  to 
Whistler,  Legros,  Shannon,  and  Holloway.  In  connection  with  this  episode 
a  curious  incident  is  to  be  chronicled  for  future  historians.  When  one  of  this 
collection  of  lithographs  was  sent  to  the  Royal  Academy  the  following  year- 
the  Hanging  Committee,  with  their  usual  intelligence,  rejected  it,  calling  it 
"a  process."  Though  they  rejected  this  print  by  an  outsider,  Mr.  George 
Thomson,  they  hung  one  by  an  Academician  done  in  the  same  way.  It 
thus  became  evident,  suddenly,  that  in  the  Royal  Academy  a  lithograph, 
when  not  by  a  member,  is  not  a  lithograph  if  drawn  upon  paper,  and  runs 
the  risk  of  being  refused  by  the  Royal  Academy  of  Arts  ;  but  when  its  own 
members  wish  to  make  lithographs  they  use  paper,  send  the  results  to  Paris, 
where  of  course  they  are  accepted  as  lithographs,  expose  them  in  a  print 
shop  opposite  their  own  back  door  as  lithographs,  and  even  hang  them  on 
their  own  walls  when  they  do  not  know  the  difference  :  a  perfect  example  of 
British  artistic  official   knowledge  of  history  and  technique. 

It  is  outside  the  province  of  this  book  to  speak  of  the  chromo-lithographs 
of  commerce  ;  therefore  the  reproductions  of  Mr.  Griggs,  Marcus  Ward, 
Vincent  Brooks,  Day  and  Son,  and  other  firms  are  not  mentioned,  nor  is  there 
any  reference  to  Vanity  Fair  portraits.  These  have  been,  and  are  often 
excellent,  but  the  excellence  is  due  to  the  water-colour  drawings  by  Ape 
and  Spy,  and  other  artists,  who  have  rarely  had  anything  to  do  with  the 
stone  or  the  transfer  paper,  the  print  being  the  work  of  also  excellent 
professional   lithographers. 

In  the  revival  of  lithography  Whistler'  is  the  first  artist  in  England  to 
be  considered,  and  he  holds  an  equally  important  place  with  Fantin-Latour  in 
France  and  Menzel  in  Germany.     But  to  these  three    artists   the  revival   must 

'  Whistler,  as  a  lithographer,  is  better  discussed  in  this  chapter  than  anywhere  else, 
though  he  is  not  a  British  artist,  because  the  greater  part  of  his  work  was  done  in  England, 
less  in  France,  and  none  in  America.  In  fact,  there  have  been  comparatively  few 
artistic  lithographs  made  iu   the   United  States   until  within   the   last  year  or  so. 

137  F* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

be  attributed.  From  1S78  until  1895,  Whistler  continued  to  work,  and  he 
made,  according  to  Way's  catalogue,  Mr.  VVhist/ers  Lithographs,  at  least  one 
hundred  and  sixty  designs.  To  look  through  them  is  to  be  impressed  by 
their  elegance  and  daintiness,  to  find  the  supreme  but  indefinable  quality 
called  style.  He  is  as  perfect  a  master  of  his  material  in  all  its  variety 
and  subtlety,  as  the  poet  is  of  rhythm.  He  drew  on  stone  in  the  seventies, 
on  paper  in  the  nineties.  He  worked  in  wash  ;  the  iVocturne,  Liinehouse, 
Early  Mornitig,  The  Toilet,  The  Thames  from  the  Saz'oy,  almost  his  last, 
were  done  in  this  way.  He  drew  with  chalk.  He  painted  with  the  stump, 
and  if,  ordinarilv,  he  got  his  effect  with  black  and  white,  occasionally  he  used 
colour  with  a  delicacy  and  restraint  that  make  one  wish  his  colour  prints 
were  more  numerous. 

He  always  went  to  the  life  about  him  for  subjects  and  found  beauty  in 
it.  There  is  a  long  London  series.  Throughout,  as  in  London  itself,  you 
come  constantly  upon  the  river,  its  "green  garlands  and  windy  eyots  forgot," 
as,  barge-laden  and  all  astir  with  life,  it  flows  between  the  grey  splendour 
and  squalor  of  the  motley  shores.  We  see  the  shipping  at  Limehouse  ;  the 
fairyland  of  Chelsea  in  the  hour  before  night  ;  the  swing  of  the  stream  at  the 
Savoy,  with  Wren's  city  in  solemn  graciousness  rising  above  it ;  the  wide 
curve  of  the  Embankment,  and  the  dirty  dreariness  of  the  Surrey  side, 
where  the  Thames  fiows  under  Waterloo  Bridge.  His  pleasure  in  London 
was  not  restricted  to  the  Thames.  He  drew,  too,  its  little  old  shops,  its 
theatre    doors,    its    churches — St.    Anne's    and    St.    Giles's. 

In  1893  and  1894  he  was  working  in  France,  where  he  delighted  in  the 
market-place  of  the  provincial  town  or  the  houses  rotting  on  the  old  canal 
bank  ;  in  Paris,  it  was  in  the  shop  of  the  Frnitiere  and  the  Blanchisseuse,  or 
of  the  BlacksiJiith,  with  its  vague  shadows  and  phantom  shapes,  and  rich 
background  of  darkness — not  a  flat  black  wall,  but  darkness  visible.  He 
found  other  motives  in  the  Luxembourg  Gardens  with  their  broad  terraces, 
wide  flights  of  steps,  prim  paths  and  classic  avenues,  their  groups  of  Bdbds 
all    frills.    Bonnes    all    ribbons,    Parisiennes   all    chie. 

In  these  years,  too,  his  portraits  were  many:  beautiful  impressions  of 
beautiful  women — La  Belle  Dame  Endormie,  La  Belle  Dame  Paresseiise,  La 
Jolie  Nezu  Yorkaise,  the  Gants  de  Suede;  several  studies  of  men — Sti'phane 
Mallarmd,  which  appeared  as  a  frontispiece  to  the  poet's  volume  of  verse. 
The  Doctor,  published  in  the  short-lived  Pagea^tt ;  one  or  two  portraits  of 
children.  There  are  also  his  little  nudes,  with  the  harmony  of  line,  the 
purity  of  pose,  the  grace  of  contour  for  which  they  have  been  likened  to  the 
work  of  Tanagra  ;  some  in  colour.  Of  these  colour  prints  few  proofs  were 
pulled.  It  was  intended  that  they  should  be  published  in  a  portfolio  by  Mr. 
Heinemann,  to  be  called  Songs  on  Stone  ;  it  was  announced  but  never  appeared. 
Before  the  figures,  and  the  drawings  made   in    Brittany,  could    be    printed,    the 

138 


J.  S.  Sargent  :  A  Study. 
Drawn  on  paper. 


THE    REVIVAL    IN    ENGLAND 

printer    and    the    stones    vanished    and    only   a    few    trial    proofs,    all    iliffcrent, 
remain. 

In  1895,  Whistler  went  to  Lyme  Regis  and  there  made  studies  of  the  town 
and  the  people,  including  several  remarkable  drawings  of  horses  in  black- 
smiths' shops,  a  proof  of  his  theory  that  an  artist  who  can  draw  anything 
can    draw    everything. 

Whistler's  lithographs  were  made  not  to  please  an  editor  or  publisher, 
not  in  response  to  fads  or  movements,  but  because  lithography  happened  to 
be  the  method  of  artistic  expression  which,  at  the  time,  met  his  need  and 
mood.  Their  appearance  in  magazines,  portfolios,  or  books  was,  with  the 
exception  of  the  MallarmL^  possibly  and  one  or  two  of  the  early  plates,  an 
afterthought.  His  idea  in  the  beginning  was  that  lithography  being  a  cheap 
process,  he  could  by  it  appeal  to  the  people,  but  the  people  never  cared  for 
his  lithographs  or  for  him — at  least  not  until  his  work  became  financially 
valuable — and  eventually  he  and  all  other  artists  found  the  making  of  litho- 
graphs,  in   this   country,   a  most  extravagant   luxury. 

There  is  a  full  statement  in  T.  R.  Way's  annotated  Catalogue  of  Mr. 
Whistlers  Lithographs,  with  many  of  the  notes  in  Whistler's  handwriting,  and 
the  method  by  which  nearly  all  the  drawings  were  done  is  there  stated,  but 
the  facts  were  not  published.  Of  one  hundred  and  eight  prints  which  are 
described  in  the  first  edition,  twelve  are  on  stone,  ninety-four  are  on  paper, 
one  or  two  are  undescribed,  and  of  two  or  three  it  is  said,  "  on  stone  and  on 
paper."  After  this  Whistler  did  some  fifty  more  subjects,  only  one  of  which  it 
is  certain  that  he  made  on  stone  :  the  Thames  lithotint.  Apropos  of  this,  the 
British  Museum  Print  Room  has  the  first  state  and  the  last  of  this  drawing — 
and  they  prove  how  Whistler  had  to  work  to  get  his  design  into  the  condition 
he  wanted.  These  facts  and  figures  have  never  been  given  before,  but  they 
are  significant  and  prove  that,  for  artists,  Senefelder's  statement  that  transfer 
paper  was  the  most  important  part  of  his  discovery  has  come  true.  Whistler 
worked  in  the  beginning  on  stone,  making  his  first  nine  drawings  on  stone, 
simply  because  some  of  the  subjects  he  could  draw  in  the  studio  to  which  the 
stones  were  sent.  And  as  for  the  rest  of  the  nine,  the  story  is  that  the 
Ways  were  good  enough  to  supply  him  also  with  barges,  barrows,  and  porters 
to  lug  the  stones  about.  But  as  many  of  the  remaining  drawings  were  done 
in  the  streets  of  London  and  Paris,  or  on  little  tours  and  journeys  in  the 
French  and  English  country,  he  soon  found,  as  all  artists  find,  that  even  for 
work  in  his  own  studio,  or  his  friends'  houses,  paper  was  the  only  thing 
that  was  practical,  and  then,  as  artists  do,  he  liked  it.  In  this  form  of 
art,  as  in  all  others,  he  adapted  the  methods  and  the  means  to  his  own 
requirements.  The  paper  he  was  forced  to  use  was  either  the  mechanically 
grained  German  fabrication,  as  can  be  seen,  for  example,  in  the  Whirlwind 
prints,   or    a    paper    the  Ways    later    supplied    him    with,   coated  with    a    brittle 

141 


LITHOGRAPHY    AND    LITHOGRAPHERS 

yellow  which  he  certainly  did  not  regard  as  too  satisfactory,  and  he  went  to 
work  as  usual  for  himself.  He  simply  bought  some  Japanese  tracing-paper, 
which  somebody  told  him  would  transfer  perfectly,  as  it  does — as  any  paper 
will,  though  the  fact  was  not  then  known,  or  rather  it  had  been  forgotten 
from  the  time  of  Senefelder — and  laying  a  sheet  of  this  Japanese  paper  upon 
a  ribbed  book-cover  or  piece  of  rough  cardboard,  and  drawing  on  that,  as  it  is 
known  he  did  in  the  case  of  the  Mallarme  portrait,  he  got  all  the  grain  he 
wanted,  and  if  he  saw  that  it  was  in  any  wav  becomino-  regular  or  mechanical, 
all  he  had  to  do  was  to  shift  the  paper  and  the  mechanical  look  disappeared. 
But  he  never  did  know  that  he  might  as  easily  have  drawn  on  one  of  his 
sheets  of  old  Dutch  paper,  had  the  drawing  transferred  from  that  to  the  stone, 
and  printed  on  other  Dutch  sheets.  It  was  not  until  about  1898,  when 
Charles  Goulding  showed  to  certain  artists  that  ordinary  paper  need  only  be 
coated  with  size,  and  when,  too,  it  was  discovered  by  accident  that  it  need 
not  be  prepared  at  all,  that  the  great  barrier  between  artist  lithographers  and 
the  art  was  swept  away.  It  is  sad  to  relate  that  by  this  time  Whistler  had 
almost  ceased  to  work  in  lithography,  discouraged  more  by  expense  and 
complications  and  secrecy  than  anything  else.  But  in  the  twenty  years  that 
Whistler  did  jiractise  the  art  he  revived  it  in  this  country.  He  revived  it 
with  the  greatest  difficulty,  for  he  had  everything  to  contend  with.  Over 
and  over  again  his  drawings,  sent  from  Paris  or  the  provinces  to  the 
printers  in  London,  went  wrong.  Beautiful  drawings  were  put  upon  the 
stone  and  came  out  ghosts,  or  rolled  up  too  black  and  required  a  special 
journey  to  London  and  days  of  work  to  get  them  right.  But  work  was 
something  that  Whistler  never  shirked,  and  he  stuck  at  the  stones  to 
which  his  drawinos  had  been  transferred  until  he  oot  what  he  wanted. 
There  was  sold  in  191 3  at  Sotheby's  a  large  collection  of  letters  from 
Whistler  to  Tom  R.  Wav,  filled  with  suooestions  and  corrections,  and 
hopes  and  fears  for  these  very  lithographs.  This  collection  was  purchased 
by  a  Mr.  Hudson.  It  should  have  been  purchased  by  the  British  Museum 
or  the  Library  of  Congress  at  Washington,  for  it  is  the  most  interesting 
technical  document  on  lithography  that  exists.  What  became  of  it  was  not 
stated  at  the  time.' 

Over  and  over  again,  in  the  mass  of  letters,  there  are  statements  like  the 
following  :  "  You  know  how  exceedingly  particular  I  am  in  the  careful  con- 
sideration of  every  detail." 

He  tells  again  and  again  how  he  looked  after  the  paper  and  wanted  every 
proof  pulled  on  the  paper  he  supplied,  and  this  was  to  be  damped  just  as  for 
his  etchings. 

Then  he  says,   in  time  he  hoped  to  set  up  a  lithographic  press. 

'   It    is  now  said  that  it  was  purchased  for  Mr.  C.  L.  Freer,  and    it  is    to  be   hoped  that 
this  is  so,  and  that  it  may  become  the  property  of  the   United  States. 

142 


\s. 


\ 


William  Stkaxg  :  Thk  Aktist's  Portrait. 
Drawn  on  Van  Gelder  paper,  transferred  to  stone,  and  printed  on  Van  Gelder  paper. 


THE    REVIVAL    IN    ENGLAND 

Then  he  hopes  thinos  in  a  proof  will  stay  exactly  as  they  are — he 
did  not  know  how  they  would  change — and  they  would  become  as  fascinating 
as  the  etchings  ;  and,  too,  he  would  learn  to  work  the  stumped  chalk  like 
the    brush,    and    the   work    would    have    on    stone    the    mystery    of   painting. 

And  then  his  troubles.  The  crayon  estompe  was  like  a  piece  of  candy 
— all  spotty  and  in  dots.  That  was  the  etching.  Crude  and  unmodelled 
was  a  design  which  must  be  destroyed.  Wipe  it  off  the  stone.  But  he 
would  go  on  working  out  things — and  then,  as  to  paper,  put  them  properly 
down  ;  more  margin  at  the  bottom  than  the  top.  But  they  will  be  lovely 
things,  which  shall  be  very  fair  ;  but  he  had  sent  Dutch  paper,  and  he 
wanted  proofs  on  that.  He  also  found  some  transfer  paper  that  ought  to 
be  better  than  the  German  paper — and  about  one-third  the  price.  Then 
there  are  directions  as  to  wetting  the  paper — like  wetting  that  for  etchings. 
Some  of  the  proofs  came  back  to  him  in  Paris  delightfully  printed,  and 
he  sent  all  sorts  of  compliments.  Then  mystery  began.  He  could  not 
expect  them  to  give  away  secrets  of  the  house  ;  then  he  might  start  a 
press  in  Paris  and  make  lithography  all  the  fashion.  He  continually  noted 
the  proofs  which  were  delightful,  the  stone  never  touched  by  him.  Then 
things  began  with  his  experiments  to  get  complicated,  as  he  did  not  touch 
or  see  the  stone ;  then  things  began  to  go  wrong,  or  he  began  to  learn 
more. 

Then  he  wanted  to  do  tint  stones,  and  evolved  an  idea  that  register 
marks  should  be  made,  and  he  would  draw  on  transparent  paper  and  print 
that  on  the  top.  This  never  came  off,  but  is  an  excellent  idea.  He  talks 
of  zinc,  and  he  acknowledged  Way  as  the  reviver  of  lithography,  and  that 
his  proofs  were  excellent.  Over  and  over  this  is  said.  When  they  went 
wrong  he  did  not  mind  how  much  time  he  spent  getting  them  right  ;  but 
no  doubt,  had  he  been  allowed  to  etch  and  to  print  them,  had  he  been 
allowed  to  see  them  put  down  as  artists  now  put  them  on  the  stone,  he  would 
have  gone  far  beyond  anything  he,  or  Way,  ever  imagined  ;  for  the  best  work 
can  only  be  done,  either  by  the  artist  alone  or  in  conjunction  with  a  printer  by 
whose  side  he  stands  all  the  while.  And  this,  during  years.  Whistler 
never  had  the  chance  of  doing.  Way's  printing  was  excellent,  admirable, 
fine  ;  but  had  Whistler  stood  beside  the  excellent  etcher  and  printer  as  he 
worked  at  his  copper-plate  press,  he  would  have  carried  out  and  carried 
on  all  sorts  of  schemes  he  dreamt  of,  imagined  and  suggested — few  of 
which  were  thought  of,  or  believed  in,  by  the  excellent,  but  conservative, 
printer. 

Whistler,  as  has  been  stated,  hoped  by  lithography  to  appeal  to  the  people, 
and  allowed  several  of  his  drawings  to  be  published  in  various  papers  and  maga- 
zines. But  he  soon  found  that  the  only  persons  who  cared  for  his  lithographs, 
that     is    sufficiently    to     buy    them — his    idea    was    to    publish     them     in    large 

145 


LITHOGRAPHY    AND    LITHOGRAPHERS 

numbers  for  a  small  price — were  the  same  intelligent  persons  who  collected  his 
etchings,  and  he  gave  up  the  scheme,  quickly  finding  out  that  it  was  not  worth 
while  to  throw  pearls  at  the  people.  It  may  be  said  incidentally  that  a  recent 
catalogue  has  offered  some  of  these  very  prints  for  los.  6d.  apiece.  And  the 
same  catalogue  showed  that  while  some  of  Whistler's  etchings  can  be  bought 
for  ^4.  4s.  each,  and  some  of  Rembrandt's  for  the  same  price,  and  some  of 
Meryon's  for  £1  los.,  while  the  work  of  some  modern  etchers  can  be 
obtained  for  any  price  from  ^165,  yet  great  lithographs  are  still  to  be  had 
for  I  OS.  6d.  One  need  not  be  on  the  Stock  Exchange,  nor  in  the  print 
business,  to  know  that  lithographs  by  the  greatest  lithographer  of  modern 
times  at  los.  6d.  apiece  are  worth  securing  without  delay.  In  Way's  second 
edition  of  the  Catalogue  of  Mr.  Whistler" s  Lithographs,  it  will  be  seen  that 
with  the  exception  of  the  set  published  as  N'otes  and  the  transfers  published 
in  magazines  and  papers,  the  average  number  of  proofs  pulled  from  each  stone 
was  about  twenty,  while  of  many  of  them,  and  they  are  some  of  the  best, 
there  were  only  three  or  four.  After  his  death,  his  executrix  saw  fit  to 
reprint  some  fifty  by  another  printer,  but  as  these  are  printed  on  modern 
paper  and  unsigned  they  cannot  be  mistaken  for  prints  pulled  during  his 
lifetime  and  under  his  supervision  and  signed  by  him,  though  the  forging  of 
artists'  signatures  on  proofs  is  coming  into  fashion  ;  and  as  the  prints  were 
not  pulled  by  Way  there  is  no  danger  of  the  intelligent  collector  being- 
deceived  by  them.     Way,   too,   in  his  catalogue  has  given  a  list  of  reprints. 

Whistler  made  lithographs  because  he  liked  to  make  them.  But  though 
he  did  not  live  to  see  it,  he  did  revive  lithography  in  England  and  America. 
Though  he  did  not  live  to  profit  by  it,  he  did  create  a  demand  for  lithographs 
among  dealers  and  a  love  for  them  among  collectors  and  amateurs.  What 
was  more  important  was  that  he  did  awaken  artists  to  the  beauty  and  the 
simplicity  of  the  art.  He  proved,  despite  all  difficulties  of  paper  and  of 
transferring,  and  of  people  who  tried  to  interfere  and  made  themselves  ridiculous, 
that  the  artist  may  take,  as  he  did,  a  tiny  portfolio  out  of  doors  containing  a 
few  sheets  of  thin  Japanese  paper,  a  little  box  of  lithographic  chalks — he 
usually  carried  his  in  a  silver  match-box — and  bring  back  a  masterpiece. 
Had  he  known  what  is  known  now,  and  the  art  is  only  at  the  threshold 
and  much,  as  he  said,  "  is  beyond  the  ken  of  us  beginners,"  he  would 
have  made  more  lithographs  and  made  them  with  half  the  trouble  and  half 
the  time  he  spent  in  getting  back  what  was  originally  in  the  drawing. 
Had  he  been  able,  or  rather  had  his  printer  been  able,  to  preserve  the 
original  as  artists  can  now,  following  the  advice  of  Senefelder  ignored  for  a 
hundred  years,  he  could  have  transferred  and  retransferred  his  drawing  until  it 
came  right  on  the  stone,  or  he  could,  with  his  original  before  him,  have 
corrected  the  stone.  And  the  original  would  be  in  existence  to-day.  When 
once,  not  long  ago,  these  things  were  pointed  out  to  a  printer,  he  said  he  did 

146 


JJ.J- , 


J.  Kerr  Lavvson  :  II  Ponte. 
Lilhotint,  drawn  on  stone  by  the  artist,  and  printed  by  liim  at  the  Senefelder  Club  Press. 


THE    REVIVAL    IN    ENGLAND 

not  see  that  there  was  anything  In  it.  But  artists  can  sec  that  there  is  a 
good  deal,  and  that  it  proves  whether  the  printer  does  his  work  properly  or 
not.  This  method  e.xposes  the  printer,  and  takes  considerably  more  time  and 
trouble,  and  some  people  do  not  care  to  take  time  and  trouble  and  to  be 
exposed  as  well. 

The  early  prints  of  Alphonse  Legros  are  not  dated,  but  it  is  known 
that  his  earliest  e.xperiments  date  as  far  back  as  1855.  His  lithographs,  as 
a  rule,  resemble  his  chalk  drawings,  which,  in  their  turn,  resemble  his  silver 
points.  Legros  seldom,  whatever  his  medium,  tried  to  express  the  quality  of 
that  medium,  but  rather  confined  his  technique  to  a  formula  which  he  had 
evolved  from  the  drawings  of  the  Old  Masters.  It  is  often  beautiful  and 
correct,  and  his  composition  always  has  dignity.  There  is  always  charm  in 
his  grey  tones.  He  never  seems  to  have  attempted  to  obtain  the  richness 
and  depth  which  Manet  and  Fantin-Latour,  with  whom  he  worked  in  the 
beginning,  inherited  from  the  earlier  lithographers.  But  with  his  greys  he 
got  the  effect  and  the  colour,  all  the  subtlety  of  tone  he  wanted.  He  was 
so  untouched  by  passing  "movements"  that  you  feel  in  his  prints  the  repose, 
the  serenity  that  distinguishes  the  drawings  of  the  Old  Masters  he  loved,  to 
whom  he  was  alwavs  faithful.  And  vet  he  had  upon  the  vouneer  EnoHsh 
lithographers,  as  upon  the  younger  etchers,  a  great  influence,  and  among 
them  he  still  remains  the  master.  Legros  was  a  Frenchman,  but  he  had 
been  in  this  country  since  the  early  sixties,  and  he  finally  became  naturalized. 
He  can  hardly  be  called  French  or  English,  but  more  truly  a  belated  Old 
Master,  and  at  times  a  very  distinguished  one.  Of  the  men  who  have  been 
his  pupils,  not  one  is  better  known  than  Mr.  William  Strang,  who  studied 
with  him  at  the  Slade  School.  Mr.  Strang's  lithographs  so  far  have  been 
few,  but  these  few  have  as  marked  a  character  as  his  etchings.  They  are 
mainly  portraits,  simple  and  dignified,  with  a  touch  of  severity  that  has 
its  charm.  Some  of  his  best  work  has  been  drawn  on  papiei"  Ingres,  transferred 
to  stone  by  Goulding,  and  printed  on  the  same  paper  with  excellent  results. 

Mr.  C.  H.  Shannon  has  not  only  contributed  to  his  own  publication, 
the  Dial,  but  to  the  Savoy  and  the  Pageant  and  U Estampe  Originate,  in 
■which  appeared  one  of  his  most  graceful  designs,  a  study  of  a  woman  in  i860 
dress.  He  has  published  several  prints  of  large  size,  and  he  has  issued  a 
series  of  portfolios  in  limited  editions,  each  containing  some  half-dozen 
portraits  and  compositions.  In  his  practice  of  the  art  he  is  thorough  to  a 
degree  to  which  no  other  English  lithographer  attained  until  quite  recently. 
Not  content  with  making  his  drawings,  he  set  up  a  press  for  himself,  and 
did,  or  had  carried  out  under  his  supervision,  the  work  of  transferring, 
etching,  and  printing.  Mr.  Shannon,  like  Fantin-Latour,  often  depends  for 
his  effects  upon  the  white  obtained  by  scratching  and  scraping.  His  litho- 
graphs   are    notable,   not   so    much    for    the    subject,    which   at   times  is  scarcely 

149 


LITHOGRAPHY    AND    LITHOGRAPHERS 

his  own,  or  the  drawhig,  which  usually  is  weak,  but  for  his  technical  mastery 
of  the  medium.  He  seeks  mainly  for  silvery,  pearly  greys,  and  in  some  of 
his  prints  these  are  of  surprising  beauty.  The  greater  part  of  his  work  has 
been  done  on  paper  and  some  of  it  has  been  printed  by  Way.  But  at 
present  he  seems  to  have  become  discouraged,  and  for  the  last  two  or  three 
years  has  done  little  or  nothing- — apparently  nothing  since  the  revival  of 
lithography,  in  which  he  was  one  of  the  first  followers  of  Whistler,  has  been 
assured. 

The  late  C.  E.  Holloway,  in  conjunction  with  T.  R.  Way,  produced  a 
portfolio  of  sketches  on  the  river,  most  of  which  were,  with  great  physical 
labour  by  others,  drawn  upon  the  stone,  out  of  doors.  In  subject  they  were 
good,  but  Holloway,  though  he  had  made  many  etchings,  was  not  sufficiently 
at  home  with  the  point,  in  this  case  the  chalk,  to  be  altogether  successful. 
Had  he  but  used  stump  or  wash  for  his  drawings,  had  he  drawn  as  he 
painted,   his  lithographs  would  have  been  more  memorable. 

T.  R.  Way,  the  son  of  Mr.  Thomas  Way,  was  the  only  trained  lithographer 
in  England  who  endeavoured  to  put  his  knowledge  to  artistic  use.  Not  only 
did  he,  with  his  father,  encourage  artists,  but  he  practised  the  art.  He  began 
by  making  on  stone  a  finished  drawing,  after  the  portrait  of  Whistler's 
Mother,  a  copy,  which  is  not  only  a  good  lithograph  but  seems  to  have 
pleased  Whistler.  After  that  he  gave  up  drawing  on  stone  almost  altogether, 
and,  taking  paper  out  of  doors,  devoted  himself  to  Old  London,  and  issued 
a  series  of  albums  and  books.  He  also  made  a  number  of  studies,  some  of 
which  are  interesting,  in  colour,  but  his  best  work  was  in  his  reproductions 
of  Whistler's  pastels.  Several,  which  appeared  in  the  Shidio,  and  in  his 
Reminiscences  of  Whistler,  are  of  great  technical  excellence.  There  are  also 
some  notable  nocturnes  in  colour,  and  he  induced  the  "  Underground"  railways 
to  issue  artistic  posters,  and  made  a  large  number  for  them. 

Mr.  Will  Rothenstein  has  published  two  volumes  of  portraits,  the  first, 
Oxford  Characters  {1896),  not  altogether  a  success,  and  the  second,  in 
which  he  made  great  advance,  English  Portraits  (1898),  the  best  work  he 
has  yet  done.  He  draws  in  chalk,  on  paper,  in  line,  with  but  little 
endeavour  to  give  tone  or  colour.  Many  of  the  old  masterpieces  of  litho- 
graphy were  portraits,  and  now,  thanks  to  Whistler,  the  lithographers  of 
the  new  generation  begin  to  value  the  possibilities  of  portraiture  in  litho- 
graphy. For  the  portrait  of  Mr.  Ricketts  and  Mr.  Shannon,  Mr.  Rothenstein 
received  the  suggestion  from  Gigoux,  by  way  of  Gavarni,  which  shows  that 
he  is  studying  good  masters.  When  he  made  it,  his  work  was  so  rapidly 
improving  that  it  is  a  great  pity  he  has  not  kept  on  with  it,  now  that  litho- 
graphy is  revived.  Charles  Ricketts  made  a  fine  poster  for  the  International 
Society  of  Sculptors,  Painters,  and  Gravers.  Charles  Conder  also  paid 
some  attention   to  the  art  about   the  same    time,  producing   a  small  number  of 

150 


Ethel  Gauaix  :  Thk  Rkveli.ers. 
Drawn  on  stone,  printed  by  the  artist. 


THE    REVIVAL    IN    ENGLAND 

prints  in  which  subjects  similar  to  his  fans  are  treated  in  much  the  same  manner 
as  in  his  water-colours  and  other  drawings.  Had  he  continued  the  work,  with 
increasing  command  of  the  medium,  he  might  have  attained  to  finer  accom- 
plishment. 

Almost  all  the  better  known  painters  have  made  various  essays,  chiefly 
in  connection  with  the  Paris  Exhibition — essays  cheerfully  forgotten.  The 
principal  exception  is  Mr.  John  S.  Sargent,  who,  in  his  study  of  a  model, 
obtained  force  and  richness  in  colour.  Abbey's  and  Mr.  Parsons'  few 
attempts  are  not  without  merit.  But  the  list  of  experimenters  might  be 
extended  indefinitely.  The  most  important  are  Mr.  Oliver  Hall,  who  seeks 
for  the  picturesqueness  of  landscape  and  finds  it  in  his  lithographs  and 
etchings,  the  little  work  he  has  done  making  one  regret  that  he  has  not  done 
more ;  Mr.  Georee  Thomson,  who,  until  the  Academv  disheartened  him, 
was  so  great  an  enthusiast  that  he,  like  Mr.  Shannon,  set  up  a  press  of 
his  own,  and  his  prints  for  several  seasons  figured  on  the  walls  of  the  New 
English  Art  Club;  Mr.  J.  McLure  Hamilton,  who  began  to  work  in  colour, 
with  one  or  more  portraits  of  Mr.  Gladstone.  Since  the  revival  Mr.  Hamilton 
has  set  up  a  press,  and  his  studies  and  sketches  in  colour  are  revealing  a  power 
of  draughtsmanship  and  a  searching  for  effect  which  are  most  remarkable.  He 
is  succeeding  in  making  paper,  stone,  and  chalk  render  strength,  beauty,  and 
charm  as  no  one  has  done  before. 

But  interesting  as  were  these  experiments  and  many  besides,  the  actual 
causes  of  the  revival  of  lithography,  apart  from  the  publication  of  occasional 
lithographs  by  Whistler  and  other  artists  in  art  magazines,  were,  first,  the 
international  Centenarv  Exhibitions  held  in  Paris,  London,  Diisseldorf,  and  New 
York,  and,  second,  the  encouragement  given  to  artists — in  England  by 
Frederick  Goulding,  who  allowed  artists  to  come  to  his  place  and  work  with 
his  brother  Charles  Goulding,  and  in  Paris  by  M.  Marty,  of  L'Estanipe 
Originale,  and  M.  Duchatel,  Lemercier's  printer.  In  Germany  there  had 
always  been,  more  or  less,  this  sort  of  interest  in  the  art,  and  Graphic  Art 
exhibitions,  in  which  lithography  was  prominently  displayed,  had  always  been 
held.  Mr.  Charles  Goulding's  encouragement  did  not  stop  with  the  Paris 
Exhibition.  His  workroom  remained  open  to  artists.  Secrecy  hitherto  had 
been  the  trouble.  The  artist  had  taken  his  drawing  on  paper  or  stone  to  the 
printer,  and  he  had  neither  seen  nor  known  anything  further  about  it,  until 
a  print  was  returned  to  him.  The  methods  employed  were  those  of  the 
Trade  Unionist  and  the  Middle-Aoe  maeician,  both  of  which  are  ridiculous,  and 
the  expense  was  prohibitive  except  to  people  with  plenty  of  money,  for  in 
England  there  was  no  sale  for  lithographs.  They  were  unnoticed  by  the 
critics,  ignored  by  the  collectors,  and  therefore  most  dealers  did  not  want 
them.  The  artist  who  made  them  did  so  for  his  own  pleasure.  It  is 
astonishing    to    consult    Way's    Catalogue    and    to    see    how    few    prints    were 

153 


LITHOGRAPHY   AND    LITHOGRAPHERS 

pulled  from  Whistler's  stones  and  how  small  were  the  prices  he  got  for 
those  few.  Every  artist  who,  like  Whistler,  persevered  and  kept  on  with 
lithography,  had  to  face  the  same  difficulties  and  discouragements.  It  was 
not  because  of  the  methods  of  the  printers  who  put  his  drawings  on  stone 
that  he  got  his  good  results,  but  despite  them.  The  drawings,  if  sent 
to  Way,  were  treated  with  the  greatest  care,  but  it  was  inevitable, 
according  to  his  methods,  that  the  first  proofs  the  artist  received  should 
be  at  times  little  like  the  drawings  he  had  entrusted  to  the  printer.  Had 
he  been  allowed  to  stand  over  the  printer,  to  etch  his  drawings,  and  to 
direct  the  printing,  or  to  print  them  himself  he  would  have  been  saved 
a  great  deal  of  unnecessary  work,  which  he  was  compelled  to  do,  in 
order  to  get  what  he  wanted,  or  to  restore  the  drawings  to  their  original 
state.  Another  difficulty  was  that,  by  the  usual  method  employed  in 
England,  the  drawing  was  bodily  transferred  to  the  stone,  and  there  remained 
no  record  of  it,  save  the  print,  good  or  bad.  No  appeal  was  possible  from 
the  printed  result.  Charles  Goulding,  a  trained  lithographer,  went  into  the 
work  in  a  very  different  spirit.  The  first  thing  that  he  did,  working  with  his 
brother  Frederick  Goulding,  was  to  preserve  the  artist's  drawing  by  a 
method  which  Senefelder  had  pointed  out,  but  which  was  unknown  to,  and 
unpractised  by,  every  other  lithographer.  The  drawing  being  preserved,  the 
artist  could  see  the  imperfections  of  the  print,  and  make  his  corrections ;  he 
could  put  it  down  again  if  necessary.  While  instead  of  being  left  in  an 
outside  office  as  usual,  he  was  allowed  by  Goulding  to  stand  by  the  etching 
bath  and  the  printing  press,  taking  and  giving  advice,  the  right  way  in 
which    work    should    be    done. 

After  the  Paris  Exhibition  {1895)  the  most  notable  event  in  London  was 
a  show  of  Whistler's  work  at  the  Fine  Art  Society's  (1895).  It  was  an 
artistic  success,  and  scarcely  more.  But  it  had  its  effect.  At  least  one  artist 
turned  seriously  to  lithography — Joseph  Pennell,  who  wrote  at  Whistler's  request 
the  introduction  to  the  catalogue,  and  then  made  two  series  of  drawings  :  one  in 
Cornwall  and  Devon,  one  in  Spain.  The  Saturday  Revieiv  and  other  papers 
began  to  publish  supplements  illustrated  by  lithography.  And  then  a  chance 
incident  drew  more  attention  than  ever  to  the  art.  A  small  show  of  Mr. 
Pennell's  lithographs  of  the  Alhambra,  held  at  the  Fine  Art  Society's  (1896), 
called  forth  an  article  in  the  Satwday  Review,  by  Mr.  Walter  Sickert,  that 
pretended  to  criticize  the  prints  but  that  really  was  an  attack  upon  Whistler 
for  using  transfer  paper.  It  declared  that  lithographs  made  on  paper  were  not 
lithographs,  and  accused  artists  who  made  their  drawings  on  transfer  paper  and 
called  them  lithographs  of  dishonesty — of  endeavouring  to  obtain  money  by 
false  pretences.  There  was  a  libel  action.  The  critic  and  the  paper  were 
proved  ignorant  of  the  art  and  practice  of  lithography,  and  the  result  was  a 
reawakening  of  interest  on  every  side.     Very  soon  lithographs  began  to  appear 

154 


E.  J.  Sullivan  :  The  Loves  of  Zephyrus  and  Flora. 
Drawn  on  paper,  transferred  to  stone,  printed  by  C.   Goulding. 


THE    REVIVAL    IN    ENGLAND 

in    exhibitions.      Mr.    E.    J.    Sullivan,    who    had    been    working    with    Goulding, 
sent    a    remarkable    series    to    the     International,     and    Mr.     Frank     Brangwyn 
began    to    do    occasional    drawings.     Then    the    Whistler    Memorial    Exhibition 
(1905)  strengthened    this   interest  by  showing  not  only  the  possibilities  of  the 
art,    but   the   wide  range    of  Whistler's  work    in    the    medium.     At  the  County 
Council  Technical  Schools  lithographic  classes  were  started.     Classes  were  formed 
at  Bolt  Court,   London,  for  professional  lithographers,  and  later  at    the  Central 
School,     in     Southampton     Row,    for    artists     who    wished     to    get    a    technical 
training.     These     classes    were    directed    mainly    by    F.    Ernest    Jackson,    who 
had  been  studying  for    some    time    in    Paris,  and    had    there   gained   theoretical 
knowledge    as    well    as    practical    experience.     Owing    largely   to    Mr.    Jackson, 
The    Neo/ith,   entirely   produced  by  lithography — illustrations    and    text     both — 
was    published    during     1907-8.      In    its    pages    several  artists   who  had  studied 
under    Mr.    Jackson,    or    had    been    working   quietly    by   themselves,    proved   the 
resources    of   the    art    and    their    proficiency.      To    the    four   numbers,     Hartrick, 
Sullivan,   Brangwyn,  Jackson,    Spencer    Pryse,    Kerr    Lawson,    Joseph    Pennell, 
Clausen,     Shannon,    Belleroche,    Oliver     Hall,    were    among    the    contributors. 
The     Neolith     was     directed     by     F.     Ernest    Jackson    and     Spencer     Pryse. 
Graily     Hewitt    wrote     the    letterpress — which     was    transferred    and     printed, 
the     whole     being     in     lithography.       It     ran     only     for    a     year,     but     in     the 
year  it  confirmed  these  artists   in   their  belief  in,   and   devotion   to,   lithography, 
and    shortly    after,    in    1908,    Messrs.    Jackson,    Hartrick  and    Lawson    called    a 
meeting     for     the    purpose    of    forming    a    society     of    lithographers.     Several 
artists  attended,   but  nothing  definite  was  done  until   Joseph    Pennell,   who    had 
been    in    America,     returned    to     London,    when    he    joined    the    three    others, 
who,    banding     themselves    together,    took    a    studio,    purchased    a    lithographic 
press,    and    hired  a    printer,    with    the    idea    of   doing    their    own   work.     They 
next    formed    a    small    Club,    of    which    they    became    the    Committee,    and    of 
which    the    early    members   were    J.    McLure     Hamilton,     John    Copley,    Miss 
Gabain,   Miss  A.    E.    Hope,  and   H.    Becker.     Mr.    William    Marchant    became 
interested  in  the  scheme,  and  offered  to  hold  an  exhibition  in    his  gallery,  and 
it    was    opened    there    in     1909.     To    this    first    exhibition    not    only    did    the 
members   contribute,    but   many   foreign   artists    sent   work   from    the    Continent. 
The  Senefelder  Club,  as  the  society  called  itself,  was  soon  supported  by  nearly 
all    the    other    artist   lithographers    in    England,    among    them     Spencer     Pryse, 
Brangwyn,   Wehrschmidt,   Way.      In    the    five    years    of    its    existence    it    has 
become    recognized    not    only    in    England,    but    in    Europe    and    America.      It 
is    a    vital    force    in    the    revival.      In    addition    to    the    annual    exhibitions    held 
in     London    by    its     members,    it     has     given     between     forty    and     fifty   other 
shows  on   the   Continent  and   in  America.      Everywhere  dealers  and  collectors, 
amateurs    and   museum    directors  have    displayed    an   interest    in   the   art,    each 
in    his    own    way,    and    to-day    there    is   a   more    genuine   artistic    movement    in 

157 


LITHOGRAPHY   AND    LITHOGRAPHERS 

lithography  than  in  etching.  Although  the  Senefelder  Club  did  not  start 
the  revival  of  lithography,  it  has  had  everything  to  do  in  developing  this 
revival  and  in  placing  lithography  again  among  the  graphic  arts  as  a  genuine 
method    of  expression. 

Note. — The  most  brilliant  of  the  younger  men  are  all  now  making  remarkable  lithographs, 
and  they  are  being  encouraged  by  collectors  and  dealers  to  do  so — as  well  as  by  publishers. 
The  series  of  drawings  shown  this  year  in  the  gallery  of  Goupil  &  Co. — as  well  as  on  the 
hoardings  of  the  London  Underground — prove  conclusively  that  there  is  a  genuine  renaissance 
of  the  art.  And  these  prints  have  been  received  in  the  great  e.xhibitions  of  Paris,  Leipzig,  Rome, 
and  Venice  with  applause.  The  applause  is  not  necessary — but  the  acknowledgment  by  the 
artists  of  Europe  and  America  is  genuine.  And  the  Senefelder  Club,  which  has  made  this  come 
about,  will  be  recognized  in  the  future  as  one  of  the  causes  of  the  resurrection  of  the  art  of 
Lithography. 


'58 


vmmm 


John  Coplky  :   Remi,  The  Priest  of  the  Sacred  Grove. 
Drawn  on  stone  and  printed  by  the  artist. 


REV  I  VAL 
IN    FRANCE 


,?* 


.iixy^q  no  nwjBiG 


H.  Fastin-Latour  :  Roses. 
Drawn  on  paper. 


\^^:0'^^'^'^C  :^^^  "^  ^^^i^^T^^^^Zr^h.-i 


■2C'---^»i^^''!*S 


REVIVAL 
IN    FRANCE 


CHAPTER    VI 

FRANCE  has  seen  the  same  renewed  activity  in  the  art  of  Hthography 
as  England.  In  1891  Henri  Beraldi,  in  his  excellent  preface  to  the 
Catalogue  of  the  Exhibition  of  Lithography  at  the  Ecole  des  Beaux- 
Arts,  wrote  that  the  revival  was  in  the  air.  He  pointed  out  that 
since  i860  the  more  painters  had  abandoned  the  art,  the  more  amateurs  and 
collectors  had  begun  to  think  about  it.  The  thirty  intervening  years  had  been 
a  period  of  cataloguing,  compiling,  classifying.  Besides,  in  France,  the  art  had 
never  fallen  so  low,  had  never  disappeared  so  completely  as  in  England.  It 
was  after  1840  that  the  school  of  reproductive  men  had  been  strengthened 
and  developed,  and  though  the  art  was  no  longer  practised  by  artists  for 
pure  delight  in  the  medium,  as  in  1S20,  1830,  and  1840,  there  were  a  few 
painters  of  various  schools  and  temperaments  who  occasionally  found  that  they 
could  say  something  better  by  lithography  than  in  any  other  way.  Moreover, 
at  the  moment  that  decadence  was  being  proclaimed,  and  regretted,  the  seeds 
of  the  reaction  or  renaissance  were  being  sown.  In  the  sixties  a  little  group 
of  young  men,  who  met  at  Cadart  and  Chevalier's  shop  in  the  Rue  Richelieu, 
and  who  had  produced  a  portfolio  of  etchings,  were  induced  to  try  drawing 
on  stone  :  Bracquemond,  who  was  no  novice,  Manet,  who  then  drew  his  Ballon, 
and  Ribot  his  Lechire,  and  Legros  ■  his  Carriers  de  Montrouge,  and  Fantin- 
Latour,  who  began  with  a  Tanuhtruser  au  Vennsbcrg  the  first  of  his  long 
series.  Courbet,  the  master  they  accepted,  had  tried  his  hand  in  seven  or 
eight  lithographs — franchenient  inaiivais  Beraldi  describes  these  prints — and, 
despite  Beraldi,  Courbet's  e.xample  probably  encouraged  them.  But  of  their 
first  experiments  there  was  no  immediate  result.  No  portfolio  was  published. 
Two  or  three  of  the  men  rarely  touched  stone  afterward.  But  Legros,  the 
chances  are,  there  received  the  inspiration  which  was  to  bear  fruit  in  England. 
If  Fantin-Latour  did  not  continue  the  work  until  more  than  ten  years  later, 
it  was  he,  of  all  others,  who  was  destined  to  adopt  lithography  pottr  donjier  un 
corps  a  ses  visions  podliques ;  he,  whose  name  for  years  in  Paris  was  as  synony- 
mous with  original  lithography  as  Whistler's  in  London,  Menzel's  in  Berlin. 
Possibly,  in  a  practical  fashion,  more  than  to  any  of  these  men,   lithography 

'  After  this  was  written  Legros  told  me  that  he  did  not  make  this  print  at  Cadart's, 
but  at  Lemercier's  shop  in  the  Rue  de  Seine.  My  authority  was  M.  Germain  Hediard's 
Catalogue  of  Fantin-Latour's  lithographs. — J.  P. 

i6^ 


LITHOGRAPHY   AND    LITHOGRAPHERS 

owes  its  revival  in  P'rance  to  a  professional  lithographer,  Jules  Chdret.  He 
was  a  designer  of  menus  and  of  music  during  an  enforced  residence  in  London, 
in  the  early  seventies  ;  on  his  return  to  France  he  became  the  pioneer  of  the 
poster,  and  it  was  by  his  application  of  lithography  to  modern  uses,  in  a  purely 
modern  spirit,  that  he  appealed  to  artists.  His  designs  were  printed  in  colour, 
but  it  was  felt  at  once  that  they  were  not  mere  commercial  chromo-litho- 
graphs.  Though  in  colour,  he  showed  that  the  art  had  lost  nothing  of  its 
vitality,  that  it  was  still  living,  that  its  practice  could  be  something  more  than 
a  revival  of  past  methods.  Without  question  his  posters  have  had  their 
influence.  If  Cheret  was  the  lithographer  of  the  streets,  the  artist  of  the 
hoardings,  Duchatel,  like  Way,  was  the  lithographer  of  the  studio.  For 
years,  as  Lemercier's  printer,  he  encouraged  most  of  the  men  named, 
taught  them  how  to  work  on  paper  and  stone,  supplied  them  with  their 
materials,  and  pulled  their  proofs,  and  eventually  wrote  the  most  practical 
manual  on  the  subject  that  has  yet  appeared  :  Traits  de  Lithographic  Artistiqiie. 
Another  printer  who  devoted  himself  to  artistic  colour  work,  who  printed  most 
of  Whistler's  essays  in  colour,  who  pointed  out  the  advantage  of  transfer  paper 
to  Fantin-Latour,  was  M.  Belfond.  In  France,  as  in  England,  and  as  it  always 
must  be  everywhere,  the  printer  must  work  with  the  artist.  Once  the  artist's 
enthusiasm  in  the  art  is  aroused,  he  should  purchase  stones  and  a  press  and 
do  the  work  himself,  but,  as  a  matter  of  fact,  most  lithographers  still  work 
with  professional  printers. 

In  1884  practical  interest  had  so  far  developed  that  a  Socidi^  des  Artistes 
Lithographes  was  founded,  largely  owing  to  the  initiative  of  M.  Paul 
Maurou,  but  this  society  then  mainly  encouraged  reproductive  lithography, 
as  it  does  still.  Not  until  the  starting  of  the  New  Salon,  not  imtll  after  the 
Exhibition  at  the  Ecolc  des  Beaux- Arts  in  1891,  and  other  exhibitions  about 
the  same  time  of  the  work  of  Fantin-Latour  and  Daumier,  did  the  revival 
become  a  movement  among  artists.  The  retrospective  section  of  the  1891 
Exhibition  was  more  than  the  sensation  of  the  moment — it  was  a  revelation. 
On  the  walls  the  history  of  the  art  unrolled  itself,  in  all  its  splendour,  and 
Paris,  that  had  so  quickly  forgotten,  renewed  her  interest  in  the  work  of  the 
past.  And  it  should  be  a  matter  of  record,  that  in  the  modern  section  of  the 
show  on  the  Ouai  Malaquais,  the  work  of  Lunois  made  the  most  immediate 
and  powerful  impression  upon  artists  who  had  hitherto  spared  little  thought 
for  lithography.  Lunois'  Hollandaise  de  Vo/ettdam,  a  study  in  wash  of  a  seated 
figure  at  a  window,  revealed  what  seemed  to  be,  though  was  not,  a  new  and 
remarkable  lithographic  method.  The  dark  figure  against  the  light  of  a 
window,  that  appeared  in  many  shops  for  a  short  time,  and  later  with  a 
black  line  across  the  middle  (for  the  stone  soon  broke)  in  many  artists'  studios, 
was  a  strong  factor  in  reviving  the  art.  It  was  done  at  the  right  moment. 
Earlier  it  must  have  proved  less  Influential,  for  in   1887   Whistler's  lithographs 

166 


A.   LUXOIS  :    HOLLANDAISE   DE   VOLENDAM. 

Wash  drawing  on  stone. 


REVIVAL    IN    FRANCE 

in  wash  had  been  issued  in  the  Goupil  PortfoHo,  Notes,  and  they  were  scarcely 
known  in   France  as  elsewhere. 

Soon  another  enthusiast  appeared,  M.  Andr^  Marty,  a  publisher  who, 
in  some  mysterious  manner,  devoted  himself  to  inducing  artists  to  make 
drawings,  for  his  portfolios  of  prints,  with  the  title  U Estampe  Originale.  To 
his  portfolios  nearly  all  the  more  famous  artists,  not  merely  of  France,  but  of 
the  world,  contributed  examples  of  their  work,  and  most  were  lithographs. 
The  publication  was  an  artistic  success.  It  was  seen  at  once,  that  no  special 
training  was  required  to  produce  a  lithograph  in  black  and  white,  or  colour, 
and  that  in  the  hands  of  those  who  had  studied  the  methods  like  Lunois, 
and  Fantin-Latour,  lithography  was  capable  of  endless  possibilities.  This 
publication,  in  1892  or  1893,  proved  how  genuine  and  far-reaching  the  revival 
was.  Other  portfolios,  Les  Peintres  Lithographes  among  them,  contained 
distinguished  work  by  well-known  artists.  Then  came  in  1895  the  Centenary 
Exhibition  at  the  Champ-cie-3Iars,  which  showed,  not  only  what  magnificent 
work  had  been  done  in  the  past,  but  what  astonishing  results  had  been 
achieved  in  the  present ;  while  the  Figaro  Lithographc,  by  its  almost  perfect 
reproduction  of  old  and  modern  work,  could  no  longer  leave  the  world  in 
ignorance  of  the  fact,  that  lithography  was  a  living,  vital  art.  From  that 
day  to  this  lithography  has  been  more  and  more  practised  in    France. 

Of  the  reproductive  lithographers  it  is  scarcely  necessary  to  say  more 
than  that  they  have  perfect  command  of  their  medium,  that  Fran(;ais  and 
Sirouy,  who  are  still  working,  Maurou,  Guillon,  Leonard,  Audebert,  Bahuet, 
Lachnitt,  Fauchon,  Fuch,  Lauzet,  Hodebert,  and  others  can  translate  colour 
with  the  richness  of  mezzotint,  and  brush-work  with  no  less  fidelity  than 
etching.  Modern  French  lithographers,  or  rather  a  certain  group,  could  now 
boast,  as  German  lithographers  seventy  years  ago  might  have  boasted,  that 
while  original  lithographs  are  being  made  everywhere,  they,  almost  alone,  are 
doing  the  reproductive  work  of  the  world.  This  is  the  work  you  see  every 
spring  in  the  Old  Salon — learned,  accomplished — but  it  must  yield  to  the 
creations  of  artists  no  less  accomplished  and  much  more  personal.  It  is 
magnificent,   but  it  is  not  art. 

Manet  carried  on  the  old  tradition  with  new  work.  His  lithographs  are 
few,  fewer  still  are  of  great  technical  merit.  But  they  have  the  individuality, 
the  character,  that  we  prize  above  the  most  perfect  fidelity  of  the 
copyist.  They  were  almost  all  done  on  paper  ;  sometimes  he  used 
colour,  as  in  the  Polichinelk.  But,  master  of  the  brush  that  he  was,  he 
was  clumsy  with  lithographic  chalk.  Not  always,  however  ;  Guerre  Civile, 
Une  Barricade,  Portrait  de  Femnic,  Le  Gamin,  are  fine.  His  illustrations  to 
The  Raven — the  best  in  wash  like  Japanese  wood-blocks,  notably  the  study 
of  a  bird  on  the  cover — published  by  Vanier,  were  done  in  lithography  in 
the    folio    edition,    and    afterwards    reproduced    as    process    blocks.      They     are 

169  G* 


LITHOGRAPHY   AND    LITHOGRAPHERS 

characterized    by  that   simplicity,    that    directness   which  was  the  dominant   note 
of  the  great  so-called  impressionist. 

Another  artist  but  little  known  to  the  general  public  is  Felicien  Rops,  a 
Belgian,  whose  work,  as  is  the  case  with  many  artists  of  foreign  nationality, 
can  best  be  seen  in  Paris.  He  equally  divided  his  marvellous  attention 
between  lithography  and  soft  ground  etching.  Rops'  work  in  lithography 
extends  over  a  long  period,  beginning  in  1854,  when  he  started  a  paper, 
Uylenspiegel,  in  Brussels,  making  lithographs  for  it  ;'  at  the  period  when  it  is 
said  there  was  no  lithography  some  of  the  most  interesting  lithographs  were 
made.  After  that  he  produced  probably  a  hundred  and  fifty  prints,  including 
posters,  burlesque  Salon  catalogues,  satires,  comedies,  and  a  vast  collection 
of  designs  which  will  scarcely  ever  find  their  way  into  the  drawing-room, 
or  the  hands  of  the  young  person.  His  lithographed  comments  on  war 
and  on  morals  are  as  forceful,  as  powerful  as  the  etchings  of  Callot  and 
the  aquatints  of  Goya.  If  subject  and  treatment  are  often  as  fantastic  as  Les 
Jeunes  of  1830  in  their  maddest  moments  could  have  desired,  we  never  feel 
that  Rops  is  a  mere  poseur,  or  that  he  uses  lithography  for  notoriety. 
He  is  fantastic  because  it  is  thus  he  saw  life,  thus  he  could  best  express 
himself.  As  a  technician  there  is  much  to  learn  from  him.  Some  of  his 
caricatures,  in  the  Crmolinographies,  are  in  the  manner  and  spirit  of  the 
artists  of  La  Caricature  and  Lc  Charivari.  And,  original  as  he  undoubtedly 
was,  he  still  at  times  owes  his  inspiration  to  the  study  of  Daumier,  for  the 
original  man  is  always  he  who  knows  how  to  profit  by  the  example  of  the 
forerunner.  In  prints  like  L'Ordre  rcgne  a  Varsovie  and  La  Peine  de 
Mort,  there  is  a  tragedy,  a  grimness,  a  grandeur  that  recalls  the  murder  in 
the  Rue  Transnonain,  and  it  is  by  these  he  will  be  remembered  and 
honoured.  They  have  a  beauty  of  colour,  a  largeness  of  design,  and  an 
imaginative  force  that  will  prove  of  greater  value  than  the  "  modernity  "  and 
the  other  qualities  for  which  he  is  just  now  most  admired.  His  portraits, 
though  his  followers  might  not  find  in  them  his  most  characteristic  subjects 
and  treatment,  show  the  same  dignity  in  their  composition,  the  same  colour 
in  their  execution. 

Felix  Bracquemond  began  life  as  a  lithographer,  though,  many  as 
are  his  lithographs,  they  have  never  become  as  famous  as  his  etchings. 
Some  of  his  prints  date  back  to  1854  and  perhaps  earlier.  Others 
were  done  but  yesterday.  He  has  drawn  landscapes  and  figures  ;  he 
has  copied  pictures.  Technically  he  is  an  experimentalist,  and  sometimes 
he  has  been  careful  to  record  the  nature  of  his  experiment,  as  in  a  print 
shown  at  the  Grolier  Club,  made,  he  explained  on  the  margin,  "  in  order 
to  try  the  colour  values  which  crayon  gives  for  each  colour."  Others  are 
mixed  up  with  etching  and  process.  But  except  as  technical  experiments, 
they  are  not  of  great  importance.     At  the  same    period,   when  lithography  had 

170 


K.  Toulouse-Lautkec  :   Cover  for  L'Estampb  Originale. 


REVIVAL    IN    FRANCE 

reached  its  lowest  ebb,  John  Lewis  Brown  was  making  amusing  prints  in 
colour.  M.  Jean  Paul  Laurens,  too,  is  responsible  for  creditable  performances, 
mostly  reproductions,  and  other  lithographers  are  to  be  unearthed  by  careful 
research  and  might  be  catalogued  by  the  collector.  But  the  work  done  before 
1890  which  has  become  a  force,  a  power,  an  incentive,  was  mainly  by 
Fantin-Latour  and   M.    Lunois. 

After  his  first  attempts  in  1S62,  Fantin-Latour  did  nothing  more  until 
1873.  Then  it  was  to  take  up  a  theme  of  which  he  never  wearied — Music. 
He  commemorated  the  festival  held  that  summer  at  Bonn  in  honour  of 
Schumann  by  a  lithograph,  and  from  that  time  he  never  ceased  to  give  on 
stone,  though  first  on  paper,  his  interpretation  of  the  great  musicians,  just  as  the 
German,  Max  Klinger,  has  endeavoured  in  etching  to  give  graphic  shape  to 
the  rhapsodies  of  Brahms.  Fantin-Latour  worked  almost  altogether  on  paper, 
finishing  his  drawing's  on  stone.  M.  Germain  Hediard,  who  has  catalogued 
his  prints,  attributes  to  the  paper,  brought  to  his  notice  by  INL  Belfond, 
the  printer,  not  only  the  fact  that  Fantin-Latour  became  an  enthusiastic 
lithographer,  but  the  special  beauty  and  quality  of  his  work.  Indeed,  the 
improvement  in  transfer  paper,  so  eagerly  desired  by  Senefelder,  has  had 
everything  to  do  with  the  revival  of  the  art.  The  paper  more  than  fulfils 
the  inventor's  hopes  and  prophecies,  and  upon  it  have  been  made  the  most 
masterly  and  delightful  lithographs  of  modern   times. 

In  Fantin-Latour's  designs,  the  melodies  and  harmonies  of  the  musicians 
take  visible  form  as  beautiful  women  and  stately  men  set  in  poetic 
landscape.  To  be  honest,  it  is  not  always  easy  to  discover  the  significance 
of  each  composition,  to  discern  its  Diotif ;  and  all,  whether  he  be 
translating  Brahms  or  Wagner,  Berlioz  or  Schumann,  are  so  alike  that, 
in  the  Salon,  one  year's  print  seemed  but  the  replica  of  his  work  of 
the  year  before.  The  similarity  is  the  greater  because  his  technique  varies 
less  than  his  composition.  But  technically  he  is  a  master,  no  one  nowadays 
has  used  the  point  so  effectively,  and  his  composition  has  always  poetic 
charm.  Some  of  his  lithographs  have  been  published  in  series,  Le  Genie  de 
la  Mnsiqiie  and  Vdi'itd.  Others  have  appeared  in  the  Albiun  des  Peintres 
Lithographes,  in  M.  Duchatel's  Ti'aiie,  and  one,  a  portrait  of  Edwin 
Edwards,  drawn  on  paper,  which  was  sent  over  to  London  to  be  transferred 
to  the  stone,  and  printed  by   Way,   came  out  in  the  Albemarle. 

Alexandre  Lunois  is  a  much  younger  man  than  Fantin-Latour,  and  at 
the  show  in  the  Beaux-Arts,  1891,  he  began  his  career.  But  this  doubtless 
made  his  influence  the  stronger  over  his  contemporaries.  His  deliberate 
return  to  the  old  method  was  an  argument  in  its  favour.  La  Petite  Hollandaise 
was  a  triumph.  He  had  been  copying  Daumier,  and  M.  Lhermitte,  and  M. 
Jean  Beraud,  and  receiving  medals  at  the  Salons  of  1882  and  1883,  and 
already,   in    1891,   he    had  been  to    the  East,   had  drawn    a  Femme  Arabe    and 


LITHOGRAPHY   AND    LITHOGRAPHERS 

Femmes  Arabes  tissant  un  Burnous,  though  it  is  in  Spain  that  he  has  found 
his  most  sympathetic  subjects.  Year  after  year  his  lithographs  have  been  a 
centre  of  interest  in  the  New  Salon.  They  are  the  work  of  the  adventurer 
trying  new  methods,  seeking  new  effects — brilHant  impressions  rather  than 
elaborate  poems,  like  the  prints  of  Fantin-Latour.  He  has  been  most  successful 
in  the  use  of  colour.  At  first  his  hand  was  heavy,  but  in  his  later  work  his 
colour  is  warm  and  CTlowinsr,   full  of  life  and  drawingf. 

There  are  several  men  whose  names  are  suggested  by  that  of  Lunois — - 
Anquetin,  Valloton,  Ibels,  Toulouse-Lautrec,  Steinlen,  Odilon  Redon — all 
modern,  all  experimentalists,  all  artists.  Anquetin,  who  at  times  works  in  a 
romantic  vein  that  recalls  Daumier,  and  Valloton,  whose  lithographs  closely 
resemble  his  woodcuts,  have  done  comparatively  little.  But  Toulouse-Lautrec, 
with  his  posters,  his  frontispieces,  his  occasional  small  prints,  notes  of  the 
Cafd  Chantant,  and  the  Moulin  Rouge,  his  monograph  on  Yvette  Guilbert, 
published  by  Marty,  had  almost  as  much  to  show  as  Lunois,  and,  with 
him,  was  responsible  for  the  amusing  colour  work  on  the  walls  of  the 
New  Salon  and  in  L'Estampe  Originale.  He  made  great  use  of  flat  tone, 
applying  the  scheme  of  the  Japanese  colour  printer  to  lithography.  There  is  . 
no  better  example  of  his  work  than  the  cover,  also  used  as  a  poster,  for 
U Estarnpe  Originale.  M.  Ibels  chooses  the  same  themes — the  cafd,  the 
theatre,  vulgar  men  and  doubtful  women — and  treats  them  in  the  same 
relentless  manner.  M.  Steinlen,  a  Swiss,  has  made  posters,  and  designed 
book  covers,  and  contributed  to  papers,  and  illustrated  Les  Chansons  de  Femmes. 
His  subjects  are  those  of  his  drawings  :  the  people  of  Paris,  the  little  ouvriere 
on  her  way  home,  tired  men  and  women  in  the  crowded  tram,  in  his  back- 
grounds a  glimpse  of  the  streets,  their  lights  and  movement  and  gaiety. 
He  has  drawn  the  cat,  and  is  one  of  the  few  artists  to  understand  her. 
He  gets  a  delightful  quality  into  his  work,  a  soft  all-pervading  greyness, 
with  now  and  then  a  black  note  in  a  cat's  fur  or  the  sleeve  of  a  dress. 
Often  his  distance  is  lost  in  dim  shadows,  effective  and  mysterious.  He 
seldom  works  in  pure  line,  but  uses  the  chalk  almost  as  if  it  were  wash. 
His  illustrations  for  Gil  Bias  Illustre  were  apparently  drawn  upon  zinc 
and  etched  for  the  colour  printer,  but  they  were  drawn  like  lithographs  with 
chalk,  and  even  in  the  cheap  printing  of  that  now  forgotten  illustrated  paper 
they  were  memorable  works  of  art. 

M.  Forain  and  M.  Willette  have  made  lithographs — Forain  a  few, 
Willette  many,  but  Forain's  drawings  in  the  Figaro,  like  Steinlen's,  have  a 
lithographic  basis.  Willette's,  like  his  chalk  drawings,  are,  in  fact,  multipli- 
cations of  his  designs  made  with  a  greasy,  instead  of  an  ordinary,  pencil. 
Pierrot  figures  in  them,  and  his  impudent  little  Parisienne,  as  much  a  type 
as  the  Lorette  of  Gavarni,  and  the  allegorical  beings  who  are  so  unexpected 
in    his    compositions.      His    allegory    may    be    serious    enough    to    him,    but    it 

174 


Jules  Leonard. 
After  Rembrandt. 


REVIVAL    IN    FRANCE 

seems  always  half  blague.  He,  with  so  many  others,  has  made  posters  and 
book  covers — notably  the  cover  for  M.  Arsene  Alexandre's  L'Art  du  Rire 
et  de  la  Caricature.  He  has  figured  in  most  of  the  lithographic  publications 
of  the  day,  from  UEstampe  Originale.  He  makes  his  yearly  appearance  in 
the  dull  precincts  of  the  Old  Salon,  and  with  his  lithographed  political  cartoons 
inundates  Paris  at  almost  every  general  election,  in  which  he  is  usually  an 
unsuccessful  candidate. 

M.  Dillon,  too,  is  true  to  the  Old  Salon,  though,  like  M.  VVillette,  he 
would  seem  more  at  home,  more  in  his  right  place,  in  the  rival  exhibition. 
His  work  is  in  strong  contrast  to  Willette's.  Instead  of  silvery  greys,  it  is 
full  of  intense  blacks,  almost  violent  in  their  intensity.  He  likes  to  show  a 
sudden  glare,  a  sudden  play  of  light  in  the  midst  of  darkness,  he  delights 
in  the  startling  illumination  of  the  circus,  the  theatre,  of  the  merry-go-round 
turning  in  the  circle  of  flaring  lamps  among  the  shadows  of  a  garden  at 
night.  It  is  extraordinary  what  different  qualities  and  effects  are  sought 
in  lithography  by  the  men  who  are  practising  the  art  to-day.  Many  of 
Dillon's  drawings  have  been  produced  with  so  artless  a  tool  as  the  splatter 
brush,  proving  that  by  an  artist  even  that  lithographic  trade  adjunct  can  be 
made  good  use  of,  as  Senefelder  pointed  out.  M.  Lepere  is  another  artist- 
lithographer  who  prefers  strong  rich  effects,  but  he  obtains  them  in  a  different 
way.  He  does  not  find  them  at  night,  but  in  broad  daylight,  in  the  move- 
ment and  traffic  of  Paris  through  the  streets  and  on  the  river.  His  work  has 
been  mainly  on  wood  or  in  etching.  But  in  his  lithographs  he  is  as  personal, 
both  in  his  way  of  looking  at  things  and  of  expressing  them.  He  has 
attempted  colour  with  admirable  results.  Jean  Veber's  lithographs  add  a  note 
of  gaiety  to  the  walls  of  the  New  Salon,  which  have  been  growing  sober  and 
sedate  with  years.  Technically  they  are  able  but  with  no  special  character. 
Their  interest  lies  rather  in  the  subject  and  in  the  amusing  arrangement  the 
artist  gets  out  of  his  grotesque  little  figures  and  their  grotesque  little  per- 
formances,  his  lithographs  in  this  respect  resembling  his  paintings. 

M.  Odilon  Redon  and  M.  Auguste  Roedel,  M.  Henri  de  Groux,  a  Belgian, 
and  M.  Georges  d'Espagnat,  the  last  of  whom  and  M.  Signac,  as  well  as 
Matisse,  have  joined  the  Post-Impressionists,  were  the  outcome  of  the  Rose 
Croix,  of  the  wave  of  mysticism  that  for  a  year  or  two  swept  over  the  two 
Salons — a  mysticism  which  in  Modern  France  is  as  affected  a  growth  as 
medisevalism  was  in  1830,  and  has  now  developed  with  the  technical  formula 
of  the  Futurist  and  the  Cubist.  But  the  stone  was  made  for  the  mystic. 
There  is  no  medium  which  lends  itself  so  readily  to  the  suggestion  of  the 
mystery,  the  vagueness,  the  indefinite  form  in  which  Redon  especially  delights. 
And  lithography  lends  itself  with  equal  ease  to  the  technique  of  the  Post- 
Impressionist,  the  Pountillist,  or  any  other  isl.  The  Impressionists,  Post- 
Impressionists,  Cubists,  and  Futurists  have  tried    their  hands    at  lithography  — 

177 


LITHOGRAPHY   AND    LITHOGRAPHERS 

but  of  them  all  the  work  of  Pisarro  seems  the  best  worth  remembering. 
His  views  of  Paris  have  little  lithographic  quality — but  his  technique  is  excel- 
lent. Signac  and  the  rest  preserve  their  handling — or  mannerisms  rather — 
without  any  difficulty.  And  if  it  is  worth  their  while,  or  their  managers' 
while,  they  will  all  display  themselves  in  lithography  and  the  future  will  judge 
of  their  importance.     But,  if  they  are  important,   Daumier  is  of  no  importance. 

Boutet  de  Mourel,  M.  Denis,  Riviere,  and  many  besides,  make  most  amusing 
use  of  colour.  A  few,  with  Charpentier  and  Roche,  have  devised  a  process  of 
stamping  or  giving  relief  to  their  designs  which  they  call  Liihographie  Gaufr^e, 
effective  for  book  covers.  But  year  by  year  the  Salons  show  some  new 
experiment,  some  new  device,  sometimes  to  be  remembered  and  adopted, 
sometimes  to  be  thrown  aside  and  forgotten  ;  though  of  interest,  as  a  proof  of 
the  life  infused  into  the  art  within  the  last  ten  years. 

There  is  still  another  group — the  painters  whose  occasional  prints  are  no 
less  noteworthy  historically,  often  more  noteworthy  artistically,  than  the  pro- 
ductions of  their  predecessors  who  experimented  for  Senefelder,  Lasteyrie,  and 
Engelmann.  Degas  is  of  the  number,  working  on  paper,  and  attracted  before 
to  be  attracted  became  the  fashion,  his  programme  for  the  Ancieiis  Eleves  du 
Lycde  de  Nantes  having  been  done  in  this  medium  in  1884.  A  notable  series 
of  his  drawings  were  lithographed  some  years  ago  by  a  Mr.  Thornton,  or 
Thornley,  an  Englishman,  published  by  Goupil,  but  in  such  a  limited  edition 
that  they  have  all  disappeared.  Carriere  figured  with  distinction  in  L' Estampe 
Originate,  and  at  the  New  Salon.  His  lithographs  are  exactly  like  his 
paintings.  The  charm  of  a  face  is  veiled  or  revealed  by  the  atmosphere 
with  which  he  fills  his  canvas.  The  lithographs  of  Besnard  attract  or  repel 
by  the  same  quality  as  his  paintings,  but  it  is  a  surprise  to  find  him  Maeter- 
linckian  in  subject  ;  in  a  print  for  M.  Marty,  Death  knocks  a  grim  summons 
in  the  shadows  of  the  doorway,  while  beyond  the  light  falls  gaily  on  a  dinner 
table  and  a  woman  in  evening  gown  who  sits  at  the  head.  The  lithographs 
of  Puvis  de  Chavannes  are  like  his  drawings,  done  in  the  same  way  with 
virtually  the  same  materials.  And  so,  again,  M.  Raffaelli  does  not  vary  his 
method  because  he  changes  his  tools.  The  same  women  you  have  seen  in  the 
portraits  of  M.  Gandara,  M.  Blanche,  and  M.  Belleroche  reappear  in  their 
lithographs,  their  very  handiwork  with  the  brush  imitated  with  the  chalk,  though 
Belleroche  has  done  a  great  deal  more  in  lithography  than  any  of  them  and 
usually  prints  his  own  designs.  M.  Poitelin  gives  the  same  landscape  on  stone 
as  on  canvas.  To  be  brief,  in  the  hands  of  a  painter,  or  a  draughtsman 
lithography  is  a  responsive  medium  that  multiplies  originals.  And  for  an 
accomplished  illustrator,  M.  Paul  Renouard,  lithography  presents  no  technical 
difficulties.  Some  illustrators  and  engravers,  M.  Jeanniot,  and  some  painters, 
M.  E.  Dinet,  are  more  enterprising,  and  work  on  the  stone  in  colour,  M. 
Jeanniot    having   already    carried    out    the    same    experiments    successfully    on 

178 


J.»;i\jt.->,Ct.«?/LO' 


'jLi/tjt-Uf: 


T.  A.  Steinlen  :  En  Greve. 


REVIVAL    IN    FRANCE 

copper  ;  while  men  who,  Hke  Felix  Buhot,  distinguished  themselves  as 
etchers,  did  not  lose  in  vivacity  and  realization  of  character  when  the  stone 
or  paper  was  substituted  for  the  copper-plate.  Buhot's  portrait  of  his  son 
and  his  impressions  of  London  are  as  fresh  and  individual  as  his  etchings. 
M.  Robida  in  La  Vieille  France  used  lithography  for  nearly  all  the  full-page 
drawings,  and,  apparently,  in  the  smaller  illustrations  for  this  book  he  drew 
with  lithographic  chalk  on  zinc  and  had  the  design  bitten  in  as  in  a  process 
block.  Dumont,  Louis  Leorand,  and  Steinlen  in  the  Coiirrier  Francais  and 
other  publications  did  exactly  the  same  thing.  Had  pulls  been  made  from 
these  drawings  before  they  were  etched  they  would  have  been  of  the  greatest 
value.     Many  were  remarkable  works  of  art  which  have  now  disappeared. 

It  can  scarcely  be  said  that  in  France  there  has  been  a  genuine 
revival  :  it  has  been  a  genuine  continuance,  though  besides  Lunois  the  only 
artists  who  have  gained  an  international  reputation  for  themselves  in  litho- 
graphy are  Lautrec  and  Leandre,  who,  when  not  making  satires,  draws  beautiful 
women  of  the  Empire  as  memorable  as  his  terrific  caricatures  of  the  politicians 
of  to-day.  But  in  every  direction,  in  commercial  lithography  and  in  artistic 
lithography,  there  has  been  progress.  The  average  is  as  high  as  in  the 
flourishino-  davs  of  the  art,  and  there  are  a  few  masters  of  distinction  as  well 
as  many  artists  of  real  talent  or  astonishing"  cleverness.  If  the  quantity  of 
prints  produced  is  less,  it  is  because  the  conditions  have  changed.  Litho- 
graphy is  no  longer  the  cheapest  and  quickest,  and  therefore  the  usual, 
method  of  illustration  for  papers  and  magazines.  Nor  can  the  old  conditions 
ever  again  be  revived.  But  that  lithography  has  nevertheless  a  great  future, 
as  it  has  had  a  great  past,  its  present  healthy  vitality  in  France  seems  to 
be  a  Guarantee. 


i8i 


■ '  lisqEq  no  rtWKiQ 


H.  Fantin-Latour  :  Idyl. 
Drawn  on  papei> 


THE    SPREAD 
OF  THE  ART 


J.  F.  Millet  :  The  Sower. 


THE    SPREAD 
OF  THE   ART 


CHAPTER    Vn 

IN  Germany,  the  publication,  in  1808,  of  the  Missal  of  Maximilian  fixed 
the  character  of  lithography  for  years  as  a  reproductive,  not  an  original, 
art.  From  that  day  until  recently,  the  German  artist  who  practised 
original  lithography  was  the  exception.  Germany  produced  few  rivals  to 
the  caricaturists  and  illustrators  of  France,  or  the  architectural  draughtsmen 
and  portraitists  of  England.  The  advantage  of  the  art,  as  the  cheapest, 
speediest,  and  most  direct  method  of  reproducing  paintings  and  drawings,  was 
realized  just  when  the  work  of  the  Old  Masters  began  to  interest  the 
German,  and  in  the  reproduction  of  Royal  and  private  collections  he  found  a 
sound,  useful  end  to  which  lithography  could  be  applied.  All  the  presses, 
not  irreclaimably  commercial,  undertook  this  task,  and  the  art  in  Germany 
became  as  serious  and  often  laboured  as  in   France  it  was  gay  and  spontaneous. 

Senefelder's  brothers,  Theobald  and  Clement,  in  181 7,  copied  the  Turnier 
Buck  Herzogs  IVilhelin  des  Vierton  von  Bayern,  von  15 10  bis  1545,  after  a 
contemporary  MS.  in  the  Royal  Library  at  Munich,  representing  a  curious 
succession  of  combats  and  tournaments,  which  they  reproduced  in  outline,  and 
then  coloured  gorgeously  by  hand,  with  decorations  in  gold  and  silver. 
But  they  had  less  infiuence,  and  were  less  enterprising  than  Van  Mannlich 
and  Zeller,  who  were  the  successors  of  Senefelder  and  Aretin  and  continued 
the  traditions  of  the  firm.  In  181 8  appeared  the  book  of  Cranach's 
drawings,  Ein  Nachtrag  zti  Albrecht  DiiTers  Christlich  Mythologischen  Hand- 
zeichnungen,  with  the  designs  lithographed  in  line  and  printed  in  colour,  two 
colours,  red  and  green,  being  used  in  one  print.  Drawings  and  studies  by 
the  Old  Masters  were  copied,  and.  Van  Mannlich  as  director  of  the  Royal 
Gallery  having  every  facility,  pictures  also  were  reproduced.  All  these 
enterprises  it  is  pleasant  to  know  met  the  approval  of  Senefelder.  "  By  this 
work "  he  thought  that  Van  Mannlich  had  "  greatly  raised  the  value  and 
reputation  of  lithography,"  and  in  his  book  he  expressed  his  "grateful 
acknowledgments."  The  public  was  pleased  too,  for  during  thirty  or  forty 
years  one  huge  collection  followed  another  in  the  chief  German  cities,  and 
these  Galleries  or  Portfolios  are  the  record  of  the  growth  of  the  art  in 
Germany. 

The  Munich  publications  set  the  example  and  the  standard.  Where  the 
photographer    now    goes    with    his    camera    the    artist    went    with    his    stone    or 

189 


LITHOGRAPHY    AND    LITHOGRAPHERS 

paper,  and  the  Kdniglich  Bairischer  Gemd/cie-Saal  zu  Miinchen  unci 
Sckiei/sheiin,  the  Geindlde  der  Pinakothek,  the  Gemii/de  der  Bj'ilder  Boisserde 
were  the  result.  These  pubHcations  extended  over  twenty-two  years,  1817  to 
1839.  The  prints  were  issued  in  huge  foHos,  sometimes  appearing  in  separate 
numbers  or  parts.  The  drawings  were  in  chalk,  frequently  printed  from  two 
stones,  with  a  tint,  the  effect  heightened  by  whites,  sometimes  worked  up  by 
hand  ;  and  they  were  as  elaborate,  as  finished,  as  thorough  as  the  Germans 
could  make  them.  The  work  of  two  or  three  men  stands  out  with  the  dis- 
tinction of  the  pictures  they  copied.  Stri.xner  and  Piloty  were  masters  of  the 
art  ;  not  original  masters,  but  ranking  in  reproductive  lithography  with  artists 
like  Mr.  Hole  and  M.  Waltner  in  reproductive  etching.  Strixner  did  an 
incredible  number  of  lithographs,  and  found  time  also  to  direct  the  publication 
of  the  Boisseree  Gallery.  He  was  so  proficient  technically  that  he  could 
render  with  equal  ease  the  lines  of  Diirer,  the  severity  and  naive  stiff- 
ness of  the  primitive  painters,  and  the  colour  and  animation  of  the  Flemings. 
Piloty  was  as  accomplished.  He  could  suggest  the  splendour  of  Rubens, 
the  stateliness  of  Van  Dyck,  and  the  movement  of  Snyders  in  a  picture  like 
the  Boar  Hunt.  His  copies  of  Murillo's  old  woman  and  of  Zurbaran's  monk 
with  a  skull  hold  their  own  to-day  with  the  most  skilful  engravings.  His 
interest  in  lithography  was  practical  enough  for  him  to  start  a  press  in 
partnership  with  Lohle,  and  the  house  of  Piloty  anci  Lohle  is,  or  was  until 
recently,  well  known  throughout  Germany.  It  was  he  who  undertook  the 
charge  of  the  Leuchtenberg  Gallery,^  and  among  his  other  publications 
he  brought  out  a  large  print  by  J.  Woelffle  of  Wilkie's  Reading  the  Will 
in  the  Munich  Gallery.  Two  other  men  who  made  their  mark  are  Laurence 
and  Dominic  Ouaglio.  The  interpretations  of  Terburg  and  De  Hooghe 
retain  the  light  and  atmosphere  and  quality  of  the  originals,  and  the  copies 
of  his  own   pictures  of  architectural  subjects  by   Dominic  have   character. 

But  for  the  best  work  you  must  go  to  the  Dresden  Gallery-  (1835-52). 
There  is  nothing  of  the  kind  to  compare  with  the  prints  signed  Franz 
Hanfstangl.  Hanfstanel  was  the  friend  of  Senefelder  and  had  studied  with 
Mitterer  in  Munich  so  well  that  he  surpassed  Strixner  and  Piloty,  even  as  they 
surpassed  the  other  reproductive  lithographers.  Hohe,  Markendorf,  and 
Straub  were  his  associates,  and  Adolf  Menzel,  who  started  as  a  professional 
lithoo-rapher,  and  with  whom  German  artistic  lithography  begins,  made  seven 
plates  as  tailpieces,  copying  Correggio,  Titian,  Carlo  Dolci,  Netscher,  Wouver- 
mann,  Raphael,  and  Mieris.  These  Galleries  are  monumental  works,  the 
perfection  of  complete  and  finished  lithography,  and  have  never  been 
approached    to    this    day.      Many  of  the    prints    may  not    preserve    the    hand- 

^  Aiisicaht   tier   vorsiiglii listen    Gemiilde   der   licrsoglichcn   Leuclitenbergischcn    Geiiu'ihic-Galerie, 
herauigegeben  von  der  LUcrarisch-Artistischen  Anstall  von  F.  G.  Colta. 
"  Die  vorziiglichsten  Gemiilde  der  Koniglichen  Galerie  in  Dresden. 

190 


< 
Q 

(d 
X 
H 

a. 

M 

z 

u 
a 
O 


THE    SPREAD    OF    THE    ART 

work    of   the  painter,  and    are    mechanical,    but   they  are  as    good    as    the    best 
reproductive  etchings. 

The  Diisseldorfer  Monathefte,  illustrated  by  lithography  somewhat  on 
the  lines  of  Le  Charivari,  was  founded  at  Dusseldorf  in  1847,  and  the  Diissel- 
dorfer Kiinstler-Albiwi,  modelled  upon  U Artiste,  in  1851  ;  both  printed  by  Arnz 
&  Co.  The  Monathefte  published  illustrations  in  the  text  and  cartoons,  and 
it  was  so  faithful  to  the  P'rench  comic  sheet  as  to  borrow  its  well-worn 
subjects  and  ridicule  Louis-Philippe.  The  Album,  begun  when  its  French 
model,  as  far  as  lithography  is  concerned,  was  in  its  decline,  ran  for  a 
few  years.  Most  of  the  lithographs  are  after  the  drawings  of  other  artists, 
and  seldom  compare  to  similar  work  in  L' Artiste.  Now  and  then  you  come 
upon  a  pleasant  landscape  or  a  fine  brisk  sea,  sketched  boldly  in  chalk 
by  Achenbach.  But  the  average  is  not  stimulating,  and  chromo-Iithography, 
used  from  the  start,  grows  more  and  more  elaborate  and  pretentious,  until,  in 
the  sixties,  the  Album  degenerates  to  the  level  of  the  Christmas  supplement. 

Many  other  publications  might  be  recalled.  From  the  time  of  Mitterer, 
scientific  books  had  been  illustrated  by  lithographs ;  for  example,  the 
zoological  works  which  Joseph  Wolf  did  before  he  left  Germany,  in 
1848,  for  England.  The  many  efforts  to  imitate  steel  engraving,  copies  in 
outline  by  the  old  classicists,  of  pictures  and  drawings,  might  also  be 
enumerated.  But  it  is  more  important  to  point  out  that  the  artistic  tradition 
and  practice  of  original  lithography  were  preserved  and  handed  down  by 
one  man,  the  greatest  of  modern  Germans ;  that  of  the  story  of  original 
lithography  in  Germany,  from  the  death  of  Senefelder  until  the  present, 
there  would  be  little  to  tell  if  it  were  not  for  Adolf  Menzel.  He  is  the  link 
between  the  old  and  the  new.  Born  in  1815,  some  of  his  earliest  and 
latest  work  was  on  stone.  His  father  having  set  up  a  press  in  Berlin, 
before  1833  he  was  following  lithography  as  a  trade,  supplying  the  shop 
with  advertisements,  and  price  lists,  and  drawings  of  machinery,  and  title- 
pages  for  music,  the  usual  commercial  lithograph  of  the  time.  His  first  original 
lithographs,  brought  out  in  1834,  were  pen-and-ink  drawings  representing  the 
vicissitudes  of  a  painter's  life,  illustrating  Goethe's  poem  Kiinstlers  Erden- 
wallen,  with  an  afterword  or  moral,  and  a  title  which  is  a  fine  specimen  of  that 
wonderful  medley  of  conventional  swirls,  traditional  symbols,  and  realistic  figures 
so  beloved  by  the  bygone  German,  that  not  even  Menzel  could  emancipate 
himself  from  it.  The  successive  scenes  in  the  artist's  life,  from  his  appearance 
as  a  boy  about  to  be  thrashed  for  drawing  on  the  floor,  to  his  triumph  as  the 
popular  painter  receiving  his  patrons,  are  rendered  realistically,  though  each 
has  below  a  funny  little  symbol  of  the  age  represented.  This  was  the  first 
time  that  a  German  artist  used  stone  for  a  record  of  the  life  he  knew,  of 
the  scenes  and  costumes  and  incidents  with  which  he  was  familiar  ;  in  a  word, 
for  the  purposes    lithography  so  well    served  in   France.      But    these    drawings 

193  H 


LITHOGRAPHY    AND    LITHOGRAPHERS 

are  very  boyish,  and  would  never  have  made  his  reputation.  Some  authorities, 
writing  of  Menzel,  have  forgotten  Strixner  and  Piloty  and  Hanfstangl,  and 
proclaimed  him,  as  a  reproductive  lithographer,  the  first  countryman  of  Senefelder 
to  give  the  art  distinction   in   its  native  land. 

Next,  in  1S34,  came  his  Denkwiirdigkeiten  aus  der  BTundenbiirgisch- 
Preussischen  Geschichte,  a  series  of  lithographs  in  chalk  of  incidents  in 
Prussian  history,  showing  the  knowledge  of  costume  and  grasp  of  character 
that  he  perfected  in  his  history  of  Frederick  the  Great  drawn  on  wood. 
In  1839  and  1840  he  was  at  work  for  Hanfstangl;  and  then  followed  the 
chief  series  of  all,  the  Costumes  of  the  Army  of  Frederick  the  Great — Die 
Amide  Friedrichs  des  Grosscn  in  ihrer  Unifo7'miernng :  Berlin,  1851-1857, 
printed  from  stone,  text  and  all,  by  L.  Sachse  &  Co.  Only  thirty  copies 
of  these  amazing  drawings  were  published.  They  were  in  pen  and  ink  and 
coloured,  and  represent  officers  and  privates  of  each  regiment  in  the  service. 
Though  they  are  fashion  plates,  and  though  many  of  the  figures  are 
repeated  over  and  over  again  with  only  slight  changes  in  the  colour  or  cut 
of  a  coat,  almost  each  one  is  doing  somethingf,  each  one  is  instinct  with 
life  or  action.  The  three  volumes  are  the  work  of  Menzel's  own  hand, 
except  perhaps  the  explanatory  text,  which  is  also  lithographed,  and  they 
are  well  worth  studying  from  the  title-page,  which,  as  in  most  German  books, 
is  bad,  to  the  tailpiece,  the  drawing  of  the  skeleton  of  a  soldier  who  has 
perished  in   the  wilderness. 

Besides  these,  Menzel  drew  several  separate  plates,  either  published 
in  portfolios  like  his  Sketches  on  Stone,  or  as  single  pictures  like  the 
Christ  in  the  Temple.  His  technical  interest  led  him  in  1851  to  his 
Versuche  auf  Stein  mit  Pinsel  nnd  Schabeisen — Attempts  on  the  Stone  tvith  the 
Brush  and  Graver.  This  is  a  series  of  drawings  macie,  as  the  title  says,  in 
various  ways,  and  it  proves  that  he  was  as  accomplished  in  his  knowledge 
of  the  methods  of  working  on  stone  as  any  of  the  other  graphic  arts.  The 
drawings  are  of  many  subjects  ;  a  bear-pit,  an  army  on  the  march  in  the 
rain,  and  a  garden  are  the  most  notable.  Pen,  chalk,  wash,  and  scraping  may 
be  found  in  each  print.  Menzel's  other  subjects  were  borrowed,  now  from 
the  present,  from  the  Boulevards  of  Paris  or  the  Carnival  of  Berlin  ;  now 
from  the  past,  from  scenes  in  the  life  of  Albert  Diirer,  or  of  Luther,  or  of 
Christ ;  none  more  striking  than  his  Christ  in  the  Temple,  a  very  large  print, 
as  extraordinary  for  its  study  of  tone  as  for  its  realization  of  Jewish  types. 
These  same  men  who,  as  Doctors  of  the  Law,  crowd  about  the  Divine  Child, 
may  be  met  sunning  themselves  in  the  streets  of  Karlsbad,  gliding  silently 
through  Whitechapel,  or  haggling  in  the  markets  of  New  York.  Menzel, 
who  was  working  during  the  lifetime  of  Senefelder,  worked  almost  till 
today,  showing  how  short  is  the  history  of  lithography.  It  is  he  who  alone 
carried  on    the  art    in    Germany,    practising  it    in     the    days    of    its  first  popu- 

194 


Msmki)  ihT  I  a3S-<?aM  nov  ^ 


T.TTHOGRAPfr 


HOGRAPHERS 


cry  uuy.bn,  and  wouM  ri- 


ng   of    Mr.-  -'     1. 
aimed  hi?ri 
ihe  ar; 


'(^putation.     Some  auihorities, 
i'i^oty  and    Hanfstangl,    and 

(  (•iintrx'maii  nf  S.  nr-fplder 


/r?r    BraHdenbu7'ghch- 

ilk    of    incidents    in 

"  jracter 


'  '     Great — Die 

/,    1851-1857, 
P''"'  rty   copies 

<^'     '  ■  ere   HI  '".k  and 

coioui^v..   ,,:,..    ;  V.  p.  I.  ji.111.   v-,iin..-,  ^iiui    iiii\<ii. -.    'j:  <.,n.,y    re*2'inieia    m    ,  ■■,-^, 

Thnsjch     x\\f\    arr-     fashion     platen,     and     th.^noh      m.-mv     of     tJie      t;_^ 

'  n!f)ur   or   cut 
ith 


cuid    tiiey 

"  .'."..    it'    i.  „„„  ,.  ^      „  ■1-'     '1   .>■'■-.   viLiinan  books, 

-  ^  A.  VON  Menzel  :  The  Garden. 

ihe    tailpiece,   thr-    (     ..  trton     of   a    soldier    who  has 

perished  in  the  wilder! 

Besides    these,     Menzel     drc  ai    separate    plates,    either    published 

in     portfolias    1;                 Sketches     on  :>tonc,     or    as    single    pictures    like    the 

-  U.      His    I     '  1    interest    led    him    in     1851     to     his 

'    ^■■■■■■'■■'  ''en — Attempts  on  the  Stone  with  the 


I'.'.in'vc;     rn;i(Ir      :'i« 


dr 


(!,•     -''■■   ..,;.■,     in 


—    Boulevards   of    Paris    •  r    » 
from    the    past,    from    scenes  in  the    life    nf 


to  d.i 
carried 


ihe 

;    may 

trom 

,  ..ii ;    now 

i-uther,  or  of 

very  large  print, 

'/I    of   Jewish    types. 

■Lit  the  Divine  Child, 

ix.ulsbad,  gliding  silently 

of   New    York.     Menzel, 

itilder,     worked     almost     till 

_'  nil),       it  is   he   who   alone 

en     the    days    of    its  first  popu- 


t***-** 


.s>^,  i 


THE    SPREAD    OF    THE    ART 

larity,    and     living   to    see    a    resurrection    of  it — or    rather,    he   lived   to   see    it 
become  the  living  original  art  it  became  through   him   in   his  own  country. 

For  at  last,  after  a  long  century,  the  German  artist  is  beginning  to 
appreciate  the  resources  of  lithography,  and  to  use  it  as  a  means  of  multi- 
plying his  original  designs,  Menzel  having  pointed  out  the  way.  The  new 
vitality  of  the  art  is  also  due  partly  to  France.  If  it  had  not  been  for 
L' Estampe  Originale  and  other  publications  of  the  kind,  we  might  not  have 
had  Pan  or  Jiigcnd,  the  clever  weekly  published  at  Munich,  that  gives 
many  reproductions  of  original  lithographs  as  well  as  illustrations  with 
a  more  or  less  lithographic  basis.  But  the  younger  Germans,  wherever 
they  derived  their  inspiration,  have  not  allowed  their  debt  to  others  to 
suppress  their  individuality,  and  of  late  some  of  the  most  interesting 
lithographs  technically  have  been  made  in  Germany  and  Austria.  For  a 
while  there  was  a  fashion  for  Pre-Raphaelitism,  just  as  there  was  before  for 
classicism,  and  it  influenced  the  work  of  even  so  strong  an  artist  as  Hans 
Thoma.  One  mav  wearv  a  little  of  the  mvsticism  that  has  guided  him  in 
the  choice  and  treatment  of  his  subjects.  But  Thoma  can  draw,  and  most 
of  the  modern  mystics  cannot,  their  mysticism  being  a  cloak  to  hide  technical 
defects.  He  is  a  genuine  primitive,  but  whether  the  resurrection  of  the 
technical  shortcomings  of  the  primitives  is  the  highest  form  of  art  the  future 
must  decide.  Much  of  Thomas  work,  though  done  with  chalk,  is  in  line, 
and  suggests  the  woodcuts  of  Durer.  Often  it  is  printed  with  a  tint  or  in 
colour.  Sometimes  his  subjects  recall  Millet.  Lately  he  has  been  much 
taken  up  with  the  modern  religious  picture  and  lithograph. 

So,  too,  have  Steinhausen  and  the  others  of  the  group.  Indeed, 
Steinhausen  seems  a  close  student  of  Thoma,  or  it  may  be  that,  as  they 
both  live  in  Frankfort,  they  work  so  much  together  that  they  have  identified 
their  aims  and  methods.  The  Healing  of  the  Blind,  the  Journey  to  Einmaiis, 
are  characteristic  themes  for  which  Steinhausen  often  finds  a  landscape 
background  full  of  poetic  feeling.  He  works  much  in  pen  and  ink  and 
prints  his  lithographs  with  a  tint,  an  effective  method.  Max  Dasio,  the 
Munich  painter,  is  another  who  has  turned  to  religion  for  motives,  borrowing 
the  hero  of  the  early  Italian  painters,  St.  Sebastian,  but  treating  his 
martyrdom  in  a  romantic  spirit  that  has  nothing  in  common  with  the 
primitiveness  of  Thoma  and  Steinhausen.  It  is  curious  that  few  women 
have  taken  up  lithography,  considering  how  little  technical  difficulty  there  is 
about  it.  One  of  the  few  is  Frau  Kollwitz,  of  Berlin,  who  began  with  Pre- 
Raphaelite  compositions,  who  in  feeling  was  closely  allied  to  Thoma  and 
Greiner,  and  who  has  now  evolved  subjects  and  methods  of  her  own  of  great 
interest,  though  she  seems  to  think  almost  as  much  of  preaching  sermons  as 
of  making  prints.  But  they  are  very  well  done,  and  she  is  the  most  brilliant 
woman  who  has  practised  lithography. 

197 


LITHOGRAPHY   AND    LITHOGRAPHERS 

Otto  Greiner,  a  follower  of  Klinger — Klinger's  work  is  almost  altogether 
in  etching — in  his  lithographs,  done  usually  with  a  pen,  was  for  a  while 
almost  altogether  classic';  now  he  might  be  better  described  as  a  realist.  He 
and  A.  Frenz,  a  Diisseldorf  artist,  whose  subjects  are  not  unlike  Greiner's, 
might  be  called  prophets  of  the  ugly,  so  realistic  is  their  rendering  of  the 
model,  who,  as  often  happens  in  Germany,  seems  chosen  deliberately  for 
coarseness,  or  brutality,  or  homeliness  of  type.  But  their  composition  is 
often  fine,  and  at  times  decorative  in  the  right  sense.  Both  have  character,  a 
strong  personality.  Greiner  continues  his  work  and  varies  it  with  portraits. 
He  is  a  master  of  his  craft,  but  he  rarely  any  longer  lithographs  the  charming 
decorative  designs  that  were  his  motives  a  few  years  ago.  His  later  designs 
are  mostly  studies  of  models. 

Otto  Fischer,  with  his  landscapes,  Fechner,  with  his  portraits,  Unger 
are  all  three  lithographers  of  note.  A  few  painters,  like  Max  Liebermann, 
produce  an  occasional  print,  just  as  French  painters,  like  Carriere  or  Puvis 
de  Chavannes,  occasionally  worked  on  stone  or  paper.  Two  great  achieve- 
ments of  modern  lithography  in  Germany  are  the  excellence  of  the  portraits, 
chiefiy  by  Fechner,  Gentz,  and  Kalckreuth,  and  the  beauty  of  the  colour  work. 
This  has  absolutely  nothing  in  common  with  the  chromo-lithography  of 
commerce.  The  colour  is  at  times  produced  by  using  one  or  two  different- 
coloured  inks  on  a  tinted  paper,  a  favourite  device  which  gives  the  effect 
almost  of  a  pastel  drawing.  One  of  the  most  successful  men  to  practise 
this  method  was  the  late  Carlos  Grethe.  Another  method  is  by  printing  in 
flat  tones  somewhat  in  the  manner  of  the  Japanese  wood-engraver,  and 
wonderful  prints  have  been  the  result.  That  German  artists  have  of  late 
devoted  themselves  more  and  more  to  lithography  and  are  doing  most 
accomplished  work  in  it,  is  owing  mainly  to  two  reasons.  First,  to  the  use 
of  aluminium  plates,  which  a  (ew  years  ago  were  developed  by  a  German 
firm  who  controlled  the  patents  and  supplied  the  artists  not  only  in  Germany, 
but  in  other  countries,  with  the  plates  and  with  chalk.  Many  artists  of 
eminence  tried  them  and,  finding  that  they  presented  no  difficulty,  made  a 
number  of  drawings,  usually  with  flat  colour  tones  added.  The  second  reason 
for  the  revival  in  Germany  was  the  formation  of  a  society  of  artists  whose 
object  was  the  publication  of  prints  for  schools  and  the  Pan  Press,  the  out- 
come of  the  Pan  magazine,  in  which  lithographs  were  printed.  The  prints  are 
now  seen  all  over  the  world,  and  are  at  times  of  great  artistic  merit  and  technical 
skill.  As  no  special  training  is  necessary,  there  are  many  artists  who  practise 
lithography  only  occasionally.  One  of  the  most  admirable  craftsmen  is  Carl 
Kappstein,  whose  print  of  the  Capuchin  Catacombs,  if  uncanny,  is  a  striking 
example  of  drawing  and  printing.  Helen  Lange's  flower  studies  in  lithography 
are  of  the  utmost  refinement  and  delicacy  and  ought  to  be  better  known.  And 
numerous  other  artists,    men  and   women,   are  working  on  stone  and  paper    in 

198 


Otto  Fischer  :    In  the  Wood. 


THE    SPREAD    OF    THE    ART 

Germany  with  ability  and  cleverness,  but  hardly  with  sufficient  individuality 
to  make  the  recording  of  their  names  more  than  a  catalogue.  At  the 
Leipzig  Exhibition  of  the  Graphic  Arts  in  1914  a  careful  survey  of  the  German 
section,  though  there  were  many  brilliant  technicians  in  it,  did  not  reveal 
the  work  of  a  single  new  artist  of  eminence.  Sir  Hubert  von  Herkomer 
was  not  easy  to  classify  nationally.  But  as,  in  his  recent  excursions  into 
lithography,  he  imported  a  German  press  and  printer,  he  may  be  included 
with  the  Germans.  He  made  within  the  last  few  years  a  series  of  experi- 
ments, chiefly  in  copying  his  own  paintings :  apparently  covering  his  plate 
with  a  bitumen  or  ink  ground — as  is  usual,  there  was  some  secret  about 
it — and  scraping  or  scratching  or  working  upon  it  with  mezzotint  tools.  He 
in  this  way  obtained  remarkable  reproductions  of  his  pictures,  notably 
the  Chelsea  Pensioners  and  some  of  the  portraits.  But  it  must  be  said  that 
they  have  more  the  look  of  photogravures  than  of  lithographs.  He  has 
shown  some  other  heads  and  portraits  done  from  life  or  from  studies,  but 
they  seem  more  like  reproductions  than  original  works  of  art.  It  would  be 
easy  to  give  a  long  list  of  German,  Austrian,  and  Hungarian  names,  but 
without  examples — they  would  convey  nothing — and  many  of  these  younger 
men  are  so  in  search  of  some  new  thing,  or  some  popular  thing,  that  they 
rush  from  Beardsley  to  Boecklin — forgetting  that  it  is  at  times  a  good  thing 
to  say  something  for  one's  self  in  one's  own  way. 

Among  the  earliest  colour  lithographers  was  Josef  Lancedelly,  an  Austrian, 
whose  Fair  in  Transylvania  was  an  elaborate  and  memorable  design. 
Lancedelly  is  almost  the  only  Austrian  or  Hungarian  whose  work  and  name 
are  remembered.  When  Wilkie  was  in  Vienna  in  1840  he  wrote  :  "  I  see 
but  litde  done  here  in  engraving,  except  in  lithography."  Unfortunately,  he 
did  not  say  what  he  did  see.  Albums  were  published,  but  none  that  survive 
unless  the  archives  are  searched  for  them. 

In  Austria  and  Hungary  the  State  now  does  much  to  encourage  the 
graphic  arts,  and  in  the  schools  and  museums  of  the  more  important  cities 
good  work  has  been  done,  though  less  in  lithography  than  in  etching  and 
wood-cutting.  In  colour  printing  the  Austrians  have  some  very  notable  artists, 
but  none  who,  in  the  large  international  exhibitions,  as  at  St.  Louis,  Venice, 
Rome,  and  Leipzig,  could  overshadow  the  exhibitors  of  other  nationalities. 
They  are  brilliant  but  not  really  distinguished.  This  is  the  more  surprising 
because  their  country  has  been  a  leader,  not  only  in  schools,  but  in  exhibitions 
and  publications.  One  of  the  first  of  the  modern  lithographic  shows  was 
held  in  the  Viennese  Industrial  Museum  in  1894,  when  Frenz,  Thoma, 
Steinhausen,  and  Otto  Greiner  exhibited.  In  the  same  year  a  volume  of 
Neue  Lithograpliien  was  issued  in  Vienna,  devoted  to  the  work  of  Greiner, 
Thoma,  Von  Pidoll,  Steinhausen  and  Dasio.  But  almost  all  these  men  are 
Germans.     The    Government    has    published    albums    of  examples   of    modern 

201  11* 


LITHOGRAPHY    AND    LITHOGRAPHERS 

work  which  are  excellent.  There  is  a  private  society  for  publishing  prints 
which  issues  lithographs,  principally  the  work  of  foreigners,  Der  Gesellschaft 
flir  Vervielfaltigende  Kunst,  and  though  there  seems  to  be  great  enthusiasm  for 
the  graphic  arts,  there  are  no  great  graphic  artists.  The  best  known  Austrian 
is  Emil  Orlik,  but  his  work  has  been  mostly  in  colour  printing  and  etching. 
Manv  lithographed  books  are  issued  from  Russian  presses — and  there  was  a 
special  sort  of  offset  press,  the  Orloff,  which  was  to  revolutionize  the  art,  but 
it  scarce  did  so. 

The  record  of  Belgium  and  Holland  is  only  a  little  less  empty.  During 
Senefelder's  lifetime  lithographic  presses  were  at  work  in  Belgium.  The  first 
was  due  to  Jean  Baptiste  Jobard,  a  scientist,  interested  in  new  inventions. 
Another  of  the  early  lithographers  was  Barriere,  also  a  Frenchman,  who  knew 
something  of  lithography,  picked  up  in  Paris.  He  got  a  second-hand  press 
from  Jobard  about  1820,  and  began  at  Tournai  to  print  and  issue  Picttn'esgue 
Vicivs  of  Belgiiuii.  Louis  Haghe,  through  his  father,  who  was  an  architect, 
got  to  know  Barriere,  and  accompanied  him  to  seek  material  for  the  Picturesque 
Vieivs,  in  which  he  collaborated.  But  in  1S23,  having  learned  what  he  could, 
Haghe  came  to  England  and  is  to  be  classed  with  English  lithographers, 
just  as  Felicien  Rops  is  associated  with  the  record  of  lithography  in  Paris. 
Series  of  portraits  were  made  by  Eckout  and  Verboekhoven,  and  published 
by  Burggraaf  and  Dewasmes,  between  18 18  and  1830.  Then,  in  1828,  Joseph 
Dionisius  Odevaere  and  a  little  group  of  artists  designed  their  Pastes 
Belgiqucs ;  Galcric  /ithographu'c  dcs  principaiix  Actes  cT Hcroisnic  civil  ct 
militairc.  By  1829  the  fame  of  the  German  Gallery  portfolios  induced  the 
Prince  d'Arenberg  to  allow  a  series  of  reproductions  to  be  made  of  his 
pictures :  Lithographies  cCaprcs  les  Principaux  Tableaux  de  la  Collection  de 
S.A.S.  Monseigncur  le  Prince  Atiguste  d'Aroiberg,  avec  le  catalogue  descriptif. 
It  is  on  a  smaller  and  less  extravagant  scale  than  the  German  Galleries,  and 
the  lithographs  have  less  merit.  The  only  prints  with  character  are  by 
Spruyt,  the  custodian  of  the  Prince's  Gallery  and  the  publisher  of  the  port- 
folio. He  never  gives  the  quality  of  the  painter  he  is  reproducing,  whether 
this  be  Franz  Hals  or  Cuyp,  but  his  use  of  chalk  is  free  and  individual 
compared  to  the  tame,  tight  technique  of  the  others.  JNIadou  here  is  poor, 
though  he  and  Lauters  were  probably  the  best  known  Belgian  lithographers 
out  of  their  own  country,  both  making  an  occasional  appearance  in  L' Artiste, 
where  amiable  appreciations  accompanied  their  prints.  Madou  published 
several  albums,  or  series,  the  most  characteristic  being  the  Scenes  de  la 
Vie  des  Peintres  de  rEcole  Flainande  et  Hollandaise  (1S40).  He  had  the 
sense  to  find  his  subjects  at  home ;  his  interiors  and  groups  in  composition 
are  somewhat  in  the  manner  of  Teniers  and  Van  Ostade,  while  at  times  his 
use  of  chalk  recalls  Raffet.  If  Lauters  found  his  landscapes  in  his  own 
part  of  the  world,   he   had   less  skill   than    Madou   in  their   delineation.     Some- 

202 


H.  Ungek  :   Study  Head. 


THE    SPREAD    OF    THE    ART 

times,  in  other  publications,  you  come  across  lithographs  tliat  do  not  deserve 
to  perish.  For  instance,  tbe  Belgian  paper,  Journal  dcs  Beaux-Arts  ct  de  la 
Litidrature,  though  not  illustrated,  every  now  and  then  gave  a  print  as  a  prize 
to  its  subscribers.  One  in  the  number  for  October  15,  1865,  is  a  fine  litho- 
graph, full  of  colour  and  elaborate  treatment  of  beautiful  detail,  by  H.  Hymans 
after  Le  Liseur,  by  Baron  Leys,  who  once  or  twice  copied  his  own  pictures. 
Other  names  can  be  mentioned,  but  they  are  nothing  more  than  names 
to-day  :  Florimund  van  Loo,  who  reproduced  the  pictures  of  distinguished  or 
popular  painters,  and  Billoin,  who  copied  Madou,  and  Schubert.  It  is  not  an 
impressive  record,  but  at  least  demonstrates  that  Belgian  artists  have  not  been 
wholly  idle  in  lithography.  The  greatest  of  all  is  Rops,  who  has  been 
classed  with  the  Frenchmen.  Within  the  last  few  years  noteworthy  work  has 
been  done,  undoubtedly  due  to  the  influence  of  Rops,  though  it  is  long  since 
Henri  de  Groux  introduced  his  uncanny  fantasies,  fine  both  in  composition 
and  technique.  Fernand  Khnopff  also  has  used  lithography  for  some  of  his 
mystic  designs  with  great  grace  and  force,  though  it  is  difficult  to  say  how 
many  of  these  drawings  he  has  produced  ;  while  Emil  Claus  has  made  studies 
of  his  own  country  which  contain  all  the  character  of  his  paintings.  More 
incentive,  however,  has  been  given  to  lithography  and  etching  in  Belgium  than 
everywhere  else  on  the  Continent  of  Europe  by  the  Salon  dc  l' Estampe  Origi- 
nate, an  exhibition  which  is  annually  held  in  Brussels  and  to  which  the  better 
known  lithographers  of  the  world  are  annually  invited  to  contribute.  Each 
year  usually  one  artist  has  been  asked  to  exhibit  a  large  selection  of  his  work, 
and  the  result  has  been  a  growing  interest  in  lithography  and  the  graphic 
arts  among  Belgian  artists  and  amateurs,  and  this  must  have  eventually  a 
verv  beneficial  effect. 

Dutch  artists  in  1828,  with  Madou  to  help  them,  did  the  Hague 
Gallery  :  Het  Koninkliik  JMuseum  van  s  Gravenhage  op  steen  gebragt.  It  was 
published  from  the  house  of  Desguerrois  &  Co.,  of  Amsterdam,  in  twenty 
parts,  three  prints  in  each,  the  last  appearing  in  1833  ;  the  text  in  Dutch  and 
French.  It  is  the  most  commonplace  of  all  these  collections.  The  names  of 
the  artists  are  forgotten.  As  ''  Laborieux  et  infatigables"  they  were  described 
in  the  text.  Industry  was  the  one  virtue  of  the  early  Dutch  lithographers. 
Now  and  then  you  may  come  across  views  of  The  Hague  and  similar  series, 
published  by  Buffa,  of  Amsterdam,  or  Van  Gogh,  of  The  Hague.  If  they 
usually  lie  neglected  on  obscure  bookshelves,   they  have  but  met  their  deserts. 

It  is  another  matter  to-day.  The  example  set  by  France  and  England 
has  been  followed,  and  such  painters  as  James  Maris,  Josef  Israels,  Ten 
Gate,  Jan  van  Toroop  have  made  lithographs.  These  are  exactly  like  their 
paintings  or  drawings  in  other  mediums,  and  possess  no  distinctive  quality. 
But  there  are,  besides,  artists  more  essentially  lithographers.  In  modern 
Dutch    work    no    one    is    better    known    than    Count    Storm    van    'sGravesande. 

205 


LITHOGRAPHY    AND    LITHOGRAPHERS 

His    studies    of    wind-swept    seas,    Dutch     harbours,    and    Venice    are    excellent 
personal    records.      These    lithographs    are  all    made  upon  the  aluminium  plates 
so    much     used     in     Germany,     and    they    suit    van     'sGravesande    admirably. 
Though    he    is    the    artist    whose    name    is    most    closely    associated    with    these 
plates,    the    supposed    inventor    is    M.    Scholtz,    of    Mayence.       But    aluminium 
has    merely     been    substituted    for    paper,     zinc,     or    stone.       There    is    nothing 
new  in  the  method.     Senefelder  used  zinc  plates.     So  did  Engelmann.     Patents 
were  taken   out  at  various  times  for  the  substitution  of  metal.      Whether  stone 
or    metal    be     used,     the    print    is    produced    by    chemical    or    surface    printing, 
and     this    alone     is    lithography.       Most    of    the    principal     modern     work    has 
appeared    in    De    Kroniek,    a    weekly    paper,     with     lithographic    supplements. 
In    it    J.    V.    Veth    published    the    portraits    of    Mesdag,    Menzel,    and    others. 
The    drawing     of     Menzel     at    work    is    a    most    convincing    portrait    of    the 
German    artist.      It   is    severe    in    treatment,    but    the    same    severity   marks    all 
Veth's  work,  and  is  not  ineffective.      In  contrast  to  it  are  the  studies  of  female 
figures,  mostly  of  women  and   children,  by    H.  J.    Haverman,   tender    in    treat- 
ment,   with   that    intensity  of   maternal    feeling,   an   almost    tragic   intensity,   that 
you   find  in  Carriere's  paintings  of  similar  themes,   combined  with  a  soft  silvery 
quality  that    is    charming.      The    political    cartoons    are    signed    mostly  by   Van 
Hoytema,   and  by   "  Rusticus,"   which    here  stands   for   M.   A.    J.    Bauer,   who  is 
described  in  the    Grolier  Club   Catalogue'^   as  a   "contemporary  Dutch  artist  of 
advanced  tendencies,"  but  of  whom  it    is  more    true    to    say  that  he   is  one  of 
the   most  distinguished   of   the   moderns.       Such   of   his   lithographs   as    are    not 
political    have    much    in  common    with   his    etchings,    in    subject — now    beautiful 
architecture,     now    a    group    of    picturesque    figures — and     in     treatment,     the 
composition     lost     in    the    mystery    which    for    him    envelops    the    world.      His 
line — and  he  works  in  line — does  not  define  but   conceals  or  veils  his  meaning. 
This    mysterious    element    enters    slightly     into     his    cartoons,     which     have    a 
largeness,  a  dignity,   a  romance  that  e.xists    in    the   work  of  few  other  political 
caricaturists    except    Daumier,   whom,    it    should    be  added,    Bauer   is  altogether 
unlike  in  technique  and  temperament.      His  L^gende  de  St.  Julien  r Hospitalier, 
ten    lithographs    illustrating  Flaubert,  was   published  at  The    Hague   in    1891    in 
an  edition  limited  to  twenty  copies.      His  most  important  design  in  lithography 
is  the  study  of  The  Sphinx,  grim,  silent,  and  impressive,  issued  some  years  ago. 
At  the  present  time   he  seems  to  confine  himself  almost  altogether  to  etching. 
Van    Hoytema  has  another  and  more   interesting  side   to  his  art  in  his  studies 
of  animals.     Technically    these    are    masterpieces.      His    monkeys    show    great 
observation,   while    his    famous   rabbits   and    birds,   worked   from   black    to   white 
and    printed    in     relief,    are    technically    as    extraordinary    and    are    models    of 
observation.      There   is   no  doubt,   however,   that  in   Holland  to-day,   besides  the 

'  Catalogue  of  an  Exhibition  lUuitralive  of  a  Centenary  of  Artistic  Lithographv.     New  York: 
1896. 

206 


Kathie  KoLLwnz  ;  Workwoman. 


THE    SPREAD    OF    THE    ART 

work  of  these  men,  there  is  little  original  graphic  art  or,  for  that  matter, 
original  art  of  any  sort.  The  artists  who  made  the  modern  artistic  reputation 
of  the  country  in  oils  and  water-colours  are  mostly  dead,  and,  save  the  artists 
named  above,  they  have  left   few  followers. 

Whether  one  of  the  family  of  Madrazo  introduced  lithography  into  Spain 
is  not  so  important  as  the  fact  that  some  of  the  earliest  Spanish  lithographs 
are  the  work  of  the  greatest  modern  Spanish  artist,  who  very  likely  obtained 
his  knowledge  in  France,  though  there  were  lithographers  in  Spain  before 
Goya  made  his  essays  in  the  art.  Lithographic  printers  in  Spain  followed 
quickly  upon  the  first  lithographic  prosperity  in  Paris.  Bruci  was  established 
at  Barcelona  in  1S20,  the  King,  Ferdinand  VII,  set  up  a  Royal  press  in 
Madrid,  and  by  1824  Madrazo  was  reproducing  the  Prado  pictures.  But 
however  great  the  reproductive  activity  of  the  country,  the  glory  of  the  art 
in  .Spain  belongs  to  Goya.  His  first  known  lithograph  is  a  Peasant  Spinning, 
dated  Madrid,  February,  18 19,  and  drawn  with  a  pen.  Fifteen  others  are 
ascribed  to  him  by  the  authorities.  The  subjects  are  characteristic  :  cavaliers 
fighting  a  duel,  a  bull  attacked  by  dogs,  a  gipsy  dance  ;  this  last  in  chalk,  as 
badly  printed  as  the  early  Spanish  lithographers,  unfortunately,  knew  how  to 
print.  Had  Goya  confined  himself  to  these  first  efforts,  he  would  have  been 
a  less  powerful  influence  in  lithography.  Before  his  last  work  in  the  medium 
was  done  all  artistic  Paris  had  been  excited  by  the  series  of  caricatures 
published  in  1824  by  Motte,  and  now  catalogued  and  collected  in  the  Print 
Room  of  the  British  Museum  as  original  Goyas.  They  are  not  signed.  They 
are  elaborated  in  a  truly  lithographic  fashion  in  most  complicated  tones,  while 
the  single  lines  are  weak  just  where  Goya  would  be  strong,  so  that  it  is 
evident  they  were  copied  or  adapted  from  the  Caprices  by  some  other  and 
lesser  draughtsman.  As  a  matter  of  fact,  they  came  out  of  the  Album  of  1824 
called  Caricatures  Espagnoles.  The  name  of  the  copyist  is  not  given  by 
Motte,  but  enough  of  Goya  is  left  in  the  work  to  have  inspired  Delacroix  to 
attempt  lithography  In  the  same  style,  and  to  have  induced  Boulanger  to 
borrow  figures  wholesale.  The  series  was  obtained  by  the  British  Museum 
from  an  eminent  French  collector  whose  mark  appears  on  the  margin.  The 
drawing  of  the  Garrot  Vil,  owned  by  the  British  Museum,  is  not  a  drawing, 
but  either  a  lithograph  or  some  form  of  mechanical  reproduction  at  which 
Goya  was  probably  experimenting.  In  1825  according  to  Beraldi,  1826 
according  to  Carderera,  Goya,  an  exile  at  Bordeaux,  made  the  series  of  four 
lithographs  upon  which  his  fame  as  a  lithographer  rests  :  the  Bull  Fights.  He 
knew  and  loved  the  bull  ring  ;  he  felt  the  splendour  of  its  drama  as  none  but 
an  artist  ever  will  ;  and  he  filled  his  lithographs  with  the  colour  and  life  of 
the  corrida.  The  sun  shines  down  upon  the  ring  with  its  lurching  bulls  and 
quick-footed  men,  rich  warm  colour  suffuses  the  shadows.  It  is  not  a  pale 
memory    of    the    gorgeous    spectacle    he    has    given,    but    the    spectacle    itself, 

209 


LITHOGRAPHY   AND    LITHOGRAPHERS 

shimmering  with  Hght  and  heat,  brilliant  with  the  brilliancy  of  the  South. 
When  you  see  these  prints  it  is  easy  to  understand  the  enthusiasm  they  have 
always  aroused.  To  about  the  same  period  belongs  the  beautiful  print  of  a 
man  wearing  decorations,  a  grey  effect  like  his  paintings,  in  the  British 
Museum.  It  may  be  the  portrait  of  Gaulon,  the  printer  of  the  Bull  Fights, 
described  by  M.  Paul  Lefort,  who  says  that  the  effect  was  obtained  by 
scraping  the  head  out  of  a  black  background.  This  is  not  true  of  the  print 
at  the   British    Museum,    though   there   is  a  little  scraping   in  it. 

In  the  meanwhile  the  Royal  Printing  Establishment  at  Madrid  was  at 
work  under  the  direction  of  Madrazo,  and  in  1826  the  publication  had  been 
begun  of  the  great  gallery  collection  :  Collcccion  lithograpliica  de  CJiadros  del 
Rey  dc  Espana  el  sefior  D.  Fernando  V/I,  lithographiada  por  habiles  artistas. 
This  was  the  publication  that  Wilkie,  while  in  Spain  in  1827,  recommended 
to  Sir  Thomas  Lawrence  for  the  Royal  Academy  Library,  as  it  then  gave 
"the  promise  of  a  very  comprehensive  and  elegant  work."  Many  Spanish 
artists,  whose  names  are  unknown,  drew  for  it.  The  best  is  Di  Craene,  whose 
copy  of  Murillo's  St.  Elizabeth  of  Hungary  Washing  the  Beggars  would  be 
striking  in  any  collection.  His  reproductions  of  Velasquez  are  surprisingly 
good,  the  Lances  in  particular  being  a  masterly  work  for  a  day  when  there 
was  no  photography  to  aid  the  copyist.  Lopez's  print  after  the  Young  Philip 
in  hunting  dress,  criticized  as  it  may  be  in  detail,  retains  much  of  the  colour 
•and  dignity  and  feeling  of  the  original.  And  there  is  a  delightful  and  spirited 
version  of  the  little  Don  Balthasar  Carlos  on  horseback,  by  Jollivet,  a  French- 
man. Still,  there  are  no  prints  in  it  to  surpass  Hanfstangl's  in  the  Dresden 
Gallery.  There  were  a  number  of  proofs  of  this  collection  printed  on  India 
paper,  and  they  are  infinitely  better.  Wilkie  was  right  in  urging  the  Academy 
to  pay  the  extra  sum  for  them.  He  found  the  impressions  on  plain  paper 
worn  from  much  printing.  But,  whatever  the  cause,  many  of  the  early 
lithographs  printed  at  the  Royal  Establishment  are  full  of  white  spots  and 
feeble   in  colour.      They  were   most   probably   over-etched. 

By  1837  there  was  a  lithographic  press  in  Seville,  for  which  R.  Blanchard 
made  numerous  drawings  of  the  town,  some  lithographed  by  A.  Daurat  and 
printed  by  V.  M.  Cassajus,  but  these  are  of  no  merit.  They  were  badly 
etched.  In  1862  we  come  to  almost  the  only  other  example  of  Spanish 
lithography  :  a  magazine.  El  Arte  en  Espana,  which  published  a  number  of 
drawings,  copies  of  paintings  in  the  style  of  E Artiste.  The  magazine  ran 
for  about  three  vears ;  some  of  the  original  desia^ns  bv  Casado  Unceto  are 
not  bad,  but  this  is  the  highest  praise  that  can  be  given  them.  Chromo- 
lithography  has  been  practised  in  Spain  by  Lozano  and  Aranjo,  who,  as  a 
copyist  after  Velasquez,  is  a  worthy  follower  of  the  French.  The  lithographs 
were  printed  by  Donon.  The  Iconograjia  Espanola,  the  work  of  Valentin 
Carderera,    the    Spanish    Court    painter,    was    undertaken    about    i860    on    an 

210 


&. 


M.  A.  J.  Bauer  :  The  Sphinx. 


THE    SPREAD    OF    THE    ART 

extensive  scale.  Its  object  was  the  record  of  historical  portraits,  statues,  and 
monuments  dating  from  the  eleventh  to  the  seventeenth  century,  and  it  was 
published  in  Madrid,  London,  and  Paris.  But,  as  was  so  often  the  case,  the 
original  artist's  drawings  were  copied  for  him  in  lithography,  by  Jose  de 
INIendoza,  Blanco,  Vallego,  and  others  as  insignificant.  Besides,  many  of  the 
lithographs  were  made  and  printed  in  Paris.  Regamey's  name  occurs  among 
the  contributors.  At  the  present  time  colour  lithography  is  widely  used  in 
Spain  for  posters,  which  are  the  most  gorgeous  produced  anywhere.  Spain 
should  have  a  large  share  in  the  credit  of  bringing  about  the  development 
of  the  modern  poster.  Some  of  the  huge  designs  for  Bull  Fights  are 
genuinely  effective.  Long  before  any  one  thought  of  the  designing  of  posters 
as  a  fine  art,  Spanish  walls  were  covered  with  these  open-air  decorations. 
There  is  published  in  Ahidrid  to-day,  or  was  very  lately,  a  journal  of  the 
bull-ring  called  La  Lidia,  illustrated  almost  entirely  by  D.  Perea.  For  years 
the  only  lithographic  weekly  papers  illustrated  in  colour — The  St.  Stephciis 
Revieiv  is  scarcely  to  be  included  in  this  list — have  been  Puck  and  Judge  \\\ 
New  York,  which  had  politics  for  subjects,  and  the  Lidia  in  Madrid,  which 
found  its  motive,  as  Goya  did,  as  many  modern  Frenchmen  do,  in  bull-fighting. 
There  may  be  lithographs  by  Fortuny,  Rico,  Vierge,  or  the  other  modern- 
Spaniards,  but  it  is  impossible  to  trace  them.  Indeed,  to  sum  up,  lithography 
in  Spain  begins  with  Goya,  and  ends  with  the  Madrid  Gallery.  But  if  the 
country  can  boast  but  little,  that  little  ranks  with  the  noblest  achievements 
of  the  art. 

The  history  of  lithography  in  Italy  has  been  written  by  Camillo  Doyen, ' 
the  son  of  a  Frenchman  born  at  Dijon,  who  was  one  of  the  first  litho- 
graphers of  Turin.  The  facts  are  of  trivial  importance  artistically.  There 
was  no  distinguished  lithographer  like  Goya,  no  distinguished  publication  like 
Madrazo's  Colleccion.  The  art  was  never  popular  as  in  France  and  England, 
never  ambitious  as  in  Germany.  There  were  professional  lithographers  and 
lithographic  presses,  and  commercial  prosperity.  And  that  is  about  all. 
Even  to-day,  little  work  is  being  done  and  accomplished  in  the  art,  though 
there  are  signs  of  an  awakening.  The  distinguished  Italian  critic,  Ugo 
Ojetti,  in  his  review  of  the  Venice  E.xhibition,  19 12,  regrets  that  Italy  has 
done  so  little.  There  was,  of  course,  the  inevitable  gallery  in  the  early 
period,  begun  in  the  time  of  Felice  Festa  :  Riproduzione  dei  Ouadri  dclla 
Pinacoteca  di  S.M.  il  Re  di  Sardegna.  But  this  did  not  prevent  a  similar 
enterprise  being  entrusted  to  the  steel-engraver  at  almost  the  same  period  : 
La  Galleria  di  Torino  under  the  charge  of  D'Azeglio.  There  were  several 
other  large  undertakings,  such  as  views  of  castles,  by  Doyen  &  Co.,  and 
drawings  of  Sardinian   uniforms,    by   Enrico   Gonin.       In   modern   times   the   art 

'  Traiiaio  di  Litograjia,  Slorico,  Tconco,  Pralico  eJ  Econoinico.      Turin  :   Francesco  Casanova, 
1877. 

21  ; 


LITHOGRAPHY   AND    LITHOGRAPHERS 

has  been  used  by  publishers  like  Ricordi,  in  the  hands  of  Tito  and  Montalti, 
for  the  title-pages  of  music  and  for  many  posters.  In  fact  Italian  posters, 
especially  for  the  international  exhibitions  of  recent  years,  have  been  better 
designed,  better  coloured,  and  more  effective  than  those  of  any  other  country. 
But  the  work  has  been  in  almost  every  case  copied  by  professional  litho- 
grapners  from  the  studies  and  designs  in  colour  of  various  artists,  though  for 
the  inauguration  of  the  Campanile  at  Venice,  in  19 12,  an  original  lithograph 
by  Joseph  Pennell  was  issued  as  a  poster  by  the  City  of  V^enice.  It  was 
printed  by  the  Stabilimento  di  Dr.  Chapuis,  Bologna.  But  a  revival  is  coming 
in  Italy  ;  many  of  the  younger  artists  are  trying  paper  and  stone,  in  the  exhibitions 
at  Rome  and  Venice  space  is  given  to  lithography,  lithographs  are  being  collected, 
and  at  any  time  a  great  lithographer  may  appear  in  the  Land  of  Great  Art. 
Switzerland  has  produced  one  lithographer  of  distinction,  Alexandre 
Calame.  Mr.  Atherton  Curtis  declares  that,  "  among  landscape  lithographers, 
Calame  is  the  only  one  whose  genius  can  at  all  approach  Harding's,  the 
only  one  who  can  stand  comparison  with  him  from  a  practical  as  well  as  a 
technical  point  of  view."  But  this  means  that  Isabey,  Paul  Huet,  Jules 
Dupre,  Decamps,  and  Cattermole  must  be  forgotten,  or  rather  that  landscape 
lithographers  must  be  limited  to  lithographers  like  Haghe  or  Prout  or  Nash, 
who  made  a  few  good  prints  and  a  multitude  of  machines.  Considered  in 
this  way,  Calame  holds  a  high  place.  The  quality  of  his  work  is  the  more 
astonishing  because  of  its  quantity.  He  filled  drawing-books  ;  he  provided 
the  "views"  and  "bits"  dear  to  the  tourist;  he  copied  his  own  drawings 
and  pictures — one  hundred  and  eight  lithographs  are  in  this  series  alone.  In 
many  of  these  his  pupil  Terry  did  the  mechanical  work  for  him,  sketched  the 
original  design  on  stone,  and  left  it  to  Calame  to  work  up  the  effect,  often 
elaborate,  the  tone  and  colour  carried  as  far  as  in  his  paintings,  nothing 
suggested  or  hinted  as  in  the  landscapes  of  many  of  the  Frenchmen.  And 
it  is  surprising  how  in  the  small  space,  and  in  black  and  white,  he  could 
elaborate  without  sacrificinsr  the  feeline  of  bigrness.  His  mountains  tower 
above  the  valley  or  lake,  they  rise  range  beyond  range,  until  at  last  they 
rest  like  shadows  on  the  horizon  ;  the  torrent  leaps  down  the  wild  precipice. 
His  pictures  are  not  as  impressive  as  his  prints.  He  exhibited  in  Paris, 
where  he  was  well  known,  was  medalled,  and  published  many  of  his  litho- 
graphs. From  most  countries  where  the  art  was  slightly  encouraged,  the 
lithographer  drifted  in  time  to  the  French  capital.  Another  Swiss,  Karl 
Bodmer,  who  went  to  America  and  afterwards  lithographed  Indian  subjects, 
J.  F.  Millet  putting  in  the  figures  for  him,  is  practically  as  French  as 
Swiss.  Louis  Choris,  Russian,  learnt  and  practised  the  art  in  Paris. 
Lorenz  Ekeman-Allesson,  Swede,  on  the  other  hand,  identified  himself  with 
Germany  and  was  appointed  director  and  professor  of  the  lithographic  estab- 
lishment   at    Stuttgart.      Only  the  rare  exception    worked  at    home  :    Alexandre 

214 


^/^ 


m^^l^ 


m 


"-^^  //  fx'  ' 


//I       \        I  *• 


^^c 


H.  J.  Haverman  :  Mother  and  Child. 


THE    SPREAD    OF    THE    ART 

OrlovvskI,  Russian,  for  example,  who  went  for  his  subjects  to  the  battle-field, 
where  Charlet  and  Raffet  had  found  theirs.  Other  isolated  instances  mieht  be 
cited.  But  they  do  not  make  it  any  the  less  true  that  in  most  of  the  European 
countries  lithography  was   never  developed,    never  encouraged   as   an   art. 

The  history  of  lithography  in  America  has  never  been  written,  or  rather, 
when  attempted,  contradictory  versions  have  been  the  result.  But  there  is 
little  history  to  record.  Few  of  the  lithographs  published  in  the  United  States 
until  recently  are  known  internationally.  Engelmann,  who  lived  to  see  litho- 
graphic firms  established  in  America,  declared  lithography  there  was  solely 
commercial  because  there  were  no  artists  in  the  country.  But  this  was  not 
an  e.xact  statement  then,  and  since  there  have  been  many  artists  in  America 
who,  before  they  became  celebrated,  started  as  commercial  lithographers,  and 
whose  drawing  for  theatrical  and  circus  posters  bears  evidence  to  their  talent. 
The  colour  work  of  Mr.  Pranw  has  dominated  the  countrv,  and  has  a  world- 
wide  reputation.  But  lithography  from  the  first,  as  pointed  out  in  the  Jotwnal 
of  the  Fi'ankliii  Institute,  was  mainly  inartistic  ;  the  country  was  Hooded  with 
poor  designs  wretchedly  carried  out,  and  work  in  black  and  white  was  deV'Oted 
chiefly  to  maps  and  plans.  Gradually  Senefelder's  invention  was  monopolized  by 
the  cigar-box  maker,  the  printer  of  theatrical  posters,  or  the  publisher  of  chromos 
and  comic  prints.  The  first  lithograph  published  in  America  appeared  in  the 
Analectic  Magazine  for  1819.  It  was  by  Benjamin  Otis  of  Philadelphia  and 
signed  "  Benj.  Otis,  lithographic,"  and  drawn  upon  American  stone.  It 
represents  two  boat-houses  upon  a  river  bank,  and  is  not  the  one  illustrated 
as  No.  22  in  the  Grolier  Club  Catalogue,  this  being  made  by  Bass  Otis, 
another  person  evidently,  but  it  is  drawn  in  the  same  way  and  in  the  same 
stvle.  In  some  records  both  are  attributed  to  Bass  Otis,  but  thev  are  too 
insignificant  to  be  made  a  matter  of  dispute.  In  June,  1827,  it  was 
announced  in  the  Journal  of  the  Franklin  Institute  that  a  press  was  soon  to 
be  established  In  Philadelphia.  Otis's  drawing  shows  that  one  had  been  there 
for  eight  years,  though  the  Franklin  Institute  knew  nothing  about  it.  The 
Journal  acknowledged  that  presses  had  already  been  set  up  in  Boston  and 
New  York,  and  gradually  they  were  at  work  in  all  the  larger  cities.  It  is 
amusing,  as  proof  of  the  conflicting  testimony  on  the  early  American  history, 
to  find  Engelmann  attributing  the  introduction  of  lithography  into  the  country 
to  Barnett  and  Doolittle,  of  New  York,  in  1828,  though  a  French  official 
report  refers  to  presses  in  the  United  States  before  the  summer  of  18 16. 
The  Franklin  Institute  Journal  printed  a  description  of  the  art  translated  from 
the  Journal  des  Connaissances  published  by  Lasteyrie,  who,  as  son-in-law  of 
Lafayette,  was  an  authority  bound  to  be  respected  in  America,  and  in  this, 
transfer  paper  and  "  auto  ink "  are  described,  and  Lasteyrie  seems  to  have 
sent  specimens  of  his  work — drawings  of  two  wrens — to  the  Pennsylvania 
Academy  of   Fine  Arts.      In    1827  also   the    Franklin   Institute  offered  a  prize, 

217 


LITHOGRAPHY   AND    LITHOGRAPHERS 

a  silver  medal,  "  for  the  best  specimen  of  lithography  to  be  executed  in  the 
United  States,"  and  in  182S  another  silver  medal  was  promised  for  the  best 
specimen  of  stone  found  in  the  United  States.  The  first  must  have  been 
won  by  Rembrandt  Peale,  who  declared  that  a  large  lithograph  of  his  portrait 
of  Washingfton  obtained  for  him  a  silver  medal  at  the  Franklin  Institute  in 
1827,  and  also  that  he  was  one  of  the  first  to  employ  "this  admirable  method 
of  multiplying  drawings,"  his  first  attempts  being  "a  head  of  Lord  Byron  and 
a  female  head  from  a  work  of  Titian."  These  were  done  before  1828,  in 
which  year  he  left  New  York  for  Boston.  The  Washington  is  a  fine  piece 
of  work,  distinguished  in  drawing  and  with  as  much  feeling  for  the  medium 
as  was  shown  in  the  best  contemporary  lithographs  of  France  or  Germany. 
Another  of  the  earlier  American  painters,  Thomas  Cole,  made  a  few  litho- 
graphs, and  so  did  his  contemporary  Thomas  Doughty,  a  landscape  painter, 
and  a  number  of  others  beside  whose  names  and  whose  work  it  would 
be   useless  to  recall. 

Pendleton  Brothers,  of  Boston,  who  printed  some  of  Peale's  designs,  and 
who  claim  to  have  introduced  the  art  into  America,  removed  in  1829  to 
Philadelphia,  and  started  an  office  under  the  name  of  Pendleton,  Kearney  and 
Childs.  P.  S.  Duval,  who  orofanized  the  firm  Lehmann  and  Duval,  wrote  a 
book  about  lithography  of  which  there  is  no  trace.  He  and  a  deaf  man, 
named  Albert  Newsam,  worked  at  portraits,  chiefly  of  Philadelphia  celebrities, 
which  were  good  for  the  time.  One  of  Bishop  White,  published  in  a  report 
of  the  Pennsvlvania  Institute  for  the  Deaf  and  Dumb,  and  shown  at  the 
Grolier  Club  Exhibition  in  New  York,  drawn  by  Newsam  and  printed  by 
Duval,   is  not  without  merit. 

But  the  first  artist  who  did  more  than  experiment  was  Professor  Schussele, 
who  is  said  to  have  studied  lithography  with  Christophe  Gabriel  Guerin  in 
Strasbourg,  afterwards  to  have  learned  chromo-lithography  with  Engelmann 
and  Graff  In  Paris,  and  to  have  done  such  admirable  work  in  colour  that  he 
was  commissioned  to  reproduce  the  pictures  In  the  Gallery  of  Versailles  for 
the  series  proposed  by  Louis- Philippe.  The  Revolution  of  1848  put  an  end 
to  this,  and  Schussele  came  to  Philadelphia,  worked  with  Duval,  and  is  said 
to  have  introduced  colour  work  Into  America,  and,  remembering  his  relations 
with  Engelmann,  this  seems  likely.  He  designed  title-pages  to  reports,  drew 
portraits,  and  did  much  work  besides,  all  of  which  brought  him  many  medals. 
Till  he  was  over  eighty  he  taught  drawing  at  the  Pennsylvania  Academy  In 
Philadelphia.  There  were  other  Germans  In  Philadelphia  who  had  a  reputa- 
tion In  their  day  as  reproductive  lithographers.  One  of  the  best  known  was 
Max  Rosenthal.  Among  the  American  artists  who  worked  In  lithography  about 
the  sixties  were  John  la  Farge,  who  did  one  or  two  prints;  William  M.  Hunt, 
whose  Flower  Girl  shows  a  command  of  the  medium  he  probably  attained 
during  his    years    of    study  in    Paris;    and  Winslow   Homer,    who    about     1S62 

218 


y  V 


/tT  81 


Tresltnq  ACHof'Lith  AntM. 


Jan  V.  Veth  :  Portrait  of  A.  von  Menzel. 


THE    SPREAD    OF    THE    ART 

produced  a  portfolio  called  Campaign  Sketches  and  other  records  of  the  Civil 
War,  published  by  Prang  &  Co.  Mr.  L.  Prang,  who  began  as  a  lithographer 
in  Boston  in  1856,  also  issued  a  map  of  the  seat  of  war  that  was  a  financial 
success,  but  has  nothing  to  do  with  the  Fine  Arts.  In  1S65,  he  says,  he 
made  the  first  reproduction  in  colour  in  America,  after  an  oil  painting  by 
A.  T.  Bricher,  and  he  also  says  he  was  the  first  to,  use  the  word  "  chromo  "  as 
applied  to  the  print  produced  by  chromo-lithography  which,  however,  had  been 
patented  in  1838,  as  already  stated.  About  the  same  time  the  Philadelphia 
firm  of  Duval  and  Hunter  published  colour  reproductions  of  the  Phila- 
delphia painter  James  Hamilton's  sea  pieces,  and  several  were  thought  of 
considerable  e.\cellence.  Napoleon  Sarony  had  for  many  years  a  reputation 
as  lithographer.  His  large  prints  show  that  he  was  skilful.  The  entire 
series  of  his  work  is  fortunately  owned  by  the  Smithsonian  Institution.  It 
might  be  noted  that  he  copied  by  lithography,  for  the  American  pirated 
edition  of  Ruskin's  Modern  Painters,  the  metal  entjravings  of  the  English 
edition.  They  can  scarcely,  however,  be  compared  to  the  lithographs  by 
Rosenthal,  after  the  author's  drawings.  John  Cheney  was  also  known  as 
a  lithographer,  but  better  as  an  engraver.  James  D.  Smillie,  in  an 
autobiographical  sketch  given  to  S.  R.  Koehler,  for  The  American  Art 
Revieiv,  in  1880,  says  that  he  did  much  at  one  time  upon  stone,  but 
his  works  have  disappeared.  More  memorable  is  H.  F.  P^arney's  famous 
caricature,  in  1S65,  of  the  escape  of  Jefferson  Davis,  clothed  in  the  dress 
of  a  woman,  engaged  in  climbing  a  fence,  and  discovering  himself  by  showing 
his  trousers.  But  most  of  these  men  are  forgotten  as  lithographers ;  their 
work  practically  has  perished.  Many  of  the  early  American  illustrators — men 
like  F.  O.  C.  Darley — indulged  in  lithography,  but  their  prints  also  have 
disappeared  except  in  a  few  cases.  Darley's  Scenes  in  Indian  Life  is 
remembered,  and,  better  still,  George  Cadin's  Indian  work  and  Audubon's 
Birds  in  Julius  Bien's  re-issue  of  1S60.  But  in  the  mass  of  books  and 
periodicals  illustrated  by  lithography  during  many  years,  in  the  series  of 
"  views  "  and  portraits  and  caricatures  and  almost  every  conceivable  subject, 
the  fine  or  memorable  print  is  rare.  Many  French  as  well  as  German 
lithographers  came  to  the  country,  but  they  were  not  often  of  greater 
distinction    than    the    American. 

Another  purpose  to  which  lithography  was  turned  was  the  printing  of 
newspaper  Christmas  supplements.  These,  however,  were  even  worse  than 
the  holiday  performances  of  the  British  printer.  The  great  Cincinnati  firm  of 
Strobridge  was  a  sort  of  cradle  for  many  of  the  more  distinguished  younger 
American  artists,  who  as  journeymen  lithographers  received  their  first  training. 
It  is  not  easy  to  trace  their  individual  designs,  for  names  never  appear  upon 
the  gorgeous,  or  rather  gaudy,  Barnum  and  Forepaugh  posters,  in  which  for  a 
period   Americans  found   most  of  their  art.       Later,    Matt   Morgan    was    one  of 

221 


LITHOGRAPHY    AND    LITHOGRAPHERS 

the  most  popular  lithographers  in  the  country,  but  the  value  of  his  work  was 
more  political  than  artistic,  and  later  still  he  formed  the  Strobridge,  or  some  other 
Company  and  was  swallowed  up  in  it.  The  Neiv  York  Daily  Graphic,  the  first 
illustrated  daily  paper  that  ran  for  any  time,  used  ordinary  lithography  and  photo- 
lithography to  a  large  extent.  This  use  of  lithography  in  daily  journalism  was  most 
remarkable,  and  in  the  history  of  the  Press  too  little  attention  has  been  paid  to 
a  paper  which,  mechanically,  is  deserving  of  more  study  and  recognition  than  it 
has  received.  Then  a  lithographic  firm  that  must  have  been  successful.  Currier 
and  Ives,  devoted  themselves  to  the  publication  of  coloured  comic  sporting 
scenes  and  burlesque  darkey  life,  and  T.  Worth  probably  drew  hundreds,  if 
not  thousands,  of  comic  racing  and  sporting  subjects  that  at  one  time  were 
in  demand  all  over  the  country.  These  have  since  become  the  stock  decora- 
tion of  many  barbers'  shops  and  country  taverns.  They  were  e.xcruciatingly 
funny  and  equally  artless.  And  later  on  came  Puck,  and  Judge,  and  similar 
journals,  which,  in  America,  have  usually  relied  upon  lithography  or  a  combination 
of  lithography  and  process  for  their  large  illustrations.  Max  Kepler  made  a 
reputation  for  his  political  caricatures.  There  were  occasional  prints  from 
Mr.  Charles  Parsons,  who  at  one  time  chronicled  many  passing  events  in 
lithography  ;  and  Thomas  Moran,  who,  in  lithographs  like  his  Solitude  and 
South  Shore  of  Lake  Superior,  put  on  stone  some  of  the  bigness  and  grandeur 
of  his  too  little  known  paintings  ;  and  J.  Foxcroft  Cole,  who  issued  a 
series  of  Pastorals.  But  their  prints,  like  the  earlier  lithographs  by  artists, 
were  exceptions.  For  years  lithography  in  America,  both  artistically  and 
commercially,  was  in  the  hands  of  companies  and  trusts,  and  the  individual 
artist  counted  for  little. 

The  revival,  from  France  and  England,  has  just  reached  America.  Even 
many  collectors  have  still  to  learn  to  take  pleasure  in  the  art.  Montague  Marks 
and  Mr.  Curtis  are  among  the  exceptions.  Nevertheless,  it  is  an  American 
who  has  brought  about  the  modern  artistic  revival  in  the  art,  though  he  owes 
nothing  In  this  matter  to  his  country,  most  of  whose  lithographers  would  probably 
be  the  last  to  know  what  he  has  done  :  Whistler.  Collectors  and  dealers  have 
appreciated  his  work,  but  that  is  more  because  it  is  Whistler  than  lithography. 
Mr.  Marks,  who  possessed  a  fine  collection  of  French  and  German  work, 
endeavoured  some  years  ago  to  form  a  lithographic  society  in  New  York.  He 
got  a  number  of  artists  to  meet  at  his  house,  and  he  supplied  them  with 
stones  and  chalk,  and  lithographs  were  made  by  J.  C.  Beckwith,  Alden  Weir, 
H.  W.  Ranger,  F.  Hopkinson  Smith,  J.  Lauber,  James  G.  Brown,  Ruger 
Donoho,  and  Cleveland  Coxe.  But  these  were  experiments,  and,  except  for 
the  works  of  H.  W.  Ranger,  have  little  lithographic  quality.  Since  then, 
Mr.  Arthur  B.  Davies  has  tried  the  various  methods  of  working  on  stone,  or 
paper,  and  they  should  prove  well  adapted  to  his  work.  Mr.  Albert  E. 
Sterner    has    used    lithography   for    portraits    and   paid  much    attention    to    the 


Storm  van-  s'Gravesande  :   Dutch  P'ishixg  Boats. 


THE    SPREAD    OF    THE    ART 

art,  and  lately  he  has  made  some  excellent  designs.  Mr.  C.  A.  Vanderhof 
has  published  some  portraits,  Mr.  C.  F.  W.  Mielatz  has  made  a  few 
lithographs  of  New  York  for  the  Society  of  Iconophiles,  Miss  Mary  Cassatt 
in  Paris  has  experimented  at  least  once.  Mr.  Glackens,  Mr.  Ernest  Haskell, 
Ozias  Dodge,  who  has  collected  his  prints  in  an  exhibition,  Glenn  Hinshaw, 
and  others  have  been  experimenting.  But  still  it  is  true  that,  up  to  the 
present  day,  lithography  may  scarcely  be  said  to  have  existed  as  an  art  in 
the  United  States.  On  the  other  hand,  the  American  Lithographic  Company, 
the  Strobridge  Company,  Mr.  Prang,  and  Mr.  Hart  maintain  that  nothing 
accomplished  anywhere  in  the  world  approaches  their  work  in  colour,  developed 
from  the  earlier  chromo-lithography  of  Max  Rosenthal,  Christian  Schussele,  and 
Julius  Bien.  It  may  be  magnificent,  but  it  cannot  be  dealt  with  here,  any 
more  than  the  equally  fine  work  of  Lemercier  in  Paris  or  Griggs  in  London. 
Either  this  book  had  to  be  confined  to  lithography  as  a  means  of  individual 
artistic  expression,  or  become  a  record  of  commercial  triumphs,  a  subject  far 
beyond  its  limits.  In  191 2  Joseph  Pennell  made  a  series  of  drawings  of  the 
Panama  Canal  on  paper,  taking  the  paper  that  he  had  purchased  in 
London  to  the  Isthmus,  making  the  drawings  there,  and  bringing  them  back 
to  Philadelphia.  There  was  not  a  lithographer  in  Europe  or  America  who  did 
not  say  that  the  artist's  drawings  would  be  ruined  when  put  on  the  stone  at 
the  end  of  such  a  journey.  After  an  experience  with  the  Trust,  the  American 
Lithographic  Company,  that  refused  to  have  anything  to  do  with  him  or  his 
drawings,  Mr.  Pennell  took  them  to  the  firm  of  Ketterlinus,  in  Philadelphia, 
in  whose  shop  he  found  a  printer,  Mr.  J.  Gregor,  who  had  worked  in  the 
same  Berlin  office  as  Menzel.  Mr.  Gregor,  under  Mr.  Pennell's  direction, 
put  every  one  of  the  drawings  on  stone,  and  not  only  this,  he  kept  the 
originals,  as  will  be  explained  in  the  technical  chapters.  Mr.  Pennell's  litho- 
graphs of  Philadelphia  were  also  printed  by  Ketterlinus.  And  within  the 
last  year  there  has  been  a  considerable  revival  of  interest  in  lithography, 
owing  to  this,  by  artists  like  McCarter  and  Sterner,  though  there  is  not  much 
yet  to  show  for  it. 


225 


J.  Maris  :    Dutch  Church. 


TECHNICAL  AND  CRITICAL 
INTRODUCTION 


V  '%.\>- 


>-^- 


Sy'^ 


^'^mfxf 


Francisco  Goya  :  The  Bull  Fight. 


TECHNICAL  AND   CRITICAL 
INTRODUCTION 


M 


CHAPTER    VIII 

ANY  myths  have  gathered  around  the  story  of  Senefelder,  but 
not  one  is  so  full  of  mystery  and  secrecy  as  that  of  the  art 
of  lithography  itself.  The  mystery  is  so  profound  that  an 
apprenticeship  alone  is  thought  to  prepare  one  to  comprehend  it. 
The  secrets  are  so  precious  that  nothing  but  trade  unions  are  believed  to  be 
able  to  guard  and  protect  them. 

To  enter  a  lithographic  office  was,  until  a  few  years  ago,  to  enter  holy 
ground,  that  is,  if  the  artist  was  allowed  to  enter.  Closed  doors  barred  his 
progress,  but  when  they  were  opened,  he  was  confronted,  confounded  and 
confused  by  elaborate,  complicated,  and  intricate  machinery,  by  simplified 
workmen,  each  struggling  with  detail,  by  mysterious  chemicals,  an  unknown 
language,  and  general  mistrust,  suspicion,  and  refusal  to  reveal  any  more  than 
could  be  helped.  Beyond  all,  was  the  sanctuary  of  the  "  Governor,"  where 
none  might  trespass.  At  the  outer  doors  the  artist  knocked  for  years,  and 
the  mystery  but  increased.  And  yet,  the  mysteries  within  were  revealed  in 
Senefelder's  own  book. 

A  few  lithographers  now  realize  that  there  is  no  mystery,  that  there  are 
no  secrets,  and  that  by  the  intelligent  co-operation  of  artist  and  printer  alone 
can  good  work  be  done.  But  it  is  another  matter  with  the  majority  who 
know  nothing  really  about  lithography.  And  that  they  know  as  little  of  art 
as    of   lithography   is   painfully  evident. 

Of  all  the  graphic  arts  not  one  is  so  simple,  so  plain,  so  direct  as 
lithography,  and  the  simplest  method  of  making  a  lithograph  is  to  draw  upon 
stone,  with  chalk  or  pen  or  wash.  To  make  an  etching,  a  steel-engraving,  or 
a  wood-engraving  demands  technical  training.  The  wood  or  steel  engraver 
must  learn  to  draw  lines  with  graver  or  burin,  a  difficult  task.  The  etcher 
must  learn  to  bite  in  with  nitric  acid  the  lines  drawn  with  a  point,  an 
uncertain  proceeding.  Not  only  this  :  the  work  on  wood  or  metal  does  not 
show,  during  its  progress,  the  design  as  it  will  appear  when  printed.  Nor 
does  the  block  of  wood,  or  the  plate  of  metal,  resemble  the  print  in  colour. 
It  is  not  until  a  proof  is  pulled  that  the  artist  can  see  the  reproduction  of  his 
original.  But  the  copper  plate  or  the  wood  block  is  but  a  means  to  an  end  and 
the  end  is  printing,  in  intaglio  or  relief.  In  lithography,  the  lines,  the  drawing 
made  by  the  artist  on  paper  or  on  stone,  are  the  lines  that  will  print,  and  he 

T  * 


LITHOGRAPHY    AND    LITHOGRAPHERS 

sees  them  before  him  all  the  while  he  works.  Every  touch  he  makes  is  visible 
and  should  print  exactly  as  he  puts  it  down.  The  drawing  grows  under  his  hand 
on  paper,  or  on  stone,  precisely  as  on  any  other  piece  of  paper,  or  on  canvas. 
Each  touch  is  there,  his  individuality,  or  his  mannerism.  There  is  but  one 
thing  for  him  to  learn,  and  this  is  purely  mechanical  :  to  reverse  his  design 
when  necessary,  if  he  is  drawing  on  stone,  and  he  who  etches  or  engraves 
or  draws  on  wood,  must  also  learn  to  do  so.  But  all  this  is  now  obviated 
by  photography  in  the  case  of  wood  or  metal,  or  by  transferring  in  lithography. 
In  a  word,  it  is  because  lithography,  technically,  is  so  plain,  so  simple,  so 
straightforward,  that  it  fell  for  years  into  the  clutches  of  the  business  man 
and  the  trade  unionist.  No  one  ever  heard  of  a  trade  union  of  steel 
engravers,  or  etchers,  or  wood  engravers,  because  the  training  of  a  metal 
or  wood  engraver  requires  some  artistic  ability  to  make  it  of  practical  value. 
Mechanical  and  metal  engravers  now  have  unions,  but  they  would  scarce 
allow  an  artist  in  them.  An  "  artist-lithographer "  may  produce  a  cigar- 
box  label,  a  map,  or  a  Christmas  card,  without  knowing  how  to  draw.  A 
pantograph  and  photography  and  tracing  will  do  the  whole  thing  for  him,  as 
the  early  textbooks    showed  by  their  illustrations  and  directions. 

All  the  methods  of  making  lithographs,  save  in  a  few  details,  are  described 
in  Senefelder's  Complete  Course  of  Lithography,  published  in  1818  in 
Germany,  soon  after  translated  into  English  and  French,  and  newly  translated 
into  English  in  191 1  by  J.  W.  Muller.  In  this  work  all  the  materials 
necessary  to  practise  the  art,  and  the  methods  of  using  them,  are  fully 
explained,  and  the  more  intelligent  writers  upon  the  subject  have  more  or  less 
followed  Senefelder's  plan.  In  this  work  also  it  is  proposed  to  follow  his 
arrangement,  for  two  reasons:  because  his  plan  is  an  excellent  constructive 
one,  and  because  any  reader  wishing  to  refer  to  Senefelder's  book  can  do  so 
without  trouble — but  not  without   intelligence. 

Lithography  is  a  method  of  printing  different  from  all  other  methods  in 
use  and  properly  described  by  Senefelder  as  Chemical  Printing.  A  much 
more  appropriate  definition  would  be  Surface  Printing.  All  other  methods  of 
printing  are  divided  into  two  branches,  the  one  reproducing  the  original 
design  by  means  of  elevated  lines  on  the  top  of  which  ink  is  distributed,  the 
other  by  engraved  or  incised  lines  into  which  the  ink  is  forced  and  then 
extracted  by  pressure.  To  the  first  branch  belong  letterpress  printing  and 
the  printing  of  line  blocks  and  wood-cuts  and  wood  engravings,  and  the  various 
forms  of  mechanical  engraving  for  printing  with  letterpress.  The  letters  and 
designs  are  formed  in  metal  or  engraved  on  wood,  so  that  the  lines  and 
points  of  which  they  are  made  up,  and  which  are  to  receive  colour,  are 
elevated,  while  the  rest  of  the  plate  or  block  which  is  to  remain  blank,  on  the 
paper,  lies  at,  or  is  cut  away  to,  a  lower  level,  and  does  not  receive  the  ink.  The 
types  or  blocks,   stereotypes  or  electrotypes,  are  all  of  equal  height,   type  high, 

234 


Francisco   Goya  :  Portrait. 
Unknown. 


TECHNICAL  AND  CRITICAL  INTRODUCTION 

and    to    get    an    impression  a    roller,    charged    with    black    or    coloured    ink,    is 
passed  over  them.      It  is  so  adjusted    that    it    touches    only    the  elevated  spots, 
which  it  covers  with  ink,    so   that   when   a  sheet    of    paper    is    laid    upon  them 
or    rolled    over    them    in    the    press,    an    impression    is    taken    off    from    the 
surface    only.      This    is    relief    or    letterpress    printing.       In     copper    or    metal 
engraving    the    method    is    the    reverse.     The  lines,    dots,  or  spaces  etched    or 
engraved    are    sunk    into    the   metal,    and    have    to    be    charged  with    ink.     To 
do    this,     the    whole    plate    is    covered    with    ink    and    that    on     the    surface 
wiped    off     with     rags,    the     ink    only    remaining    in    the    sunken    lines    into 
which    it    is    forced.      If  a  piece  of  paper  is  placed  upon  these  inked  lines  and 
passed  through  a  press  with    great    pressure,  the    paper    will    be    squeezed    into 
the    lines    and    the    ink    will    adhere    to    the    paper.     This    is    the    theory    and 
practice    of    metal    or    intaglio    engraving.     Chemical    printing,    lithography,    is 
totally  different.     There    is    no  relief  or  depression  whatever,   of  the  surface  of 
the    stone    or    plate,  and    the    whole    printing    process    depends    upon    chemical 
affinity,  and  the  laws  of  attraction  and  repulsion,  in  that  if  a  drawing  is    made 
upon    a    Hat    surface,    which    is    then    damped    with    water,    and    the    lines    and 
points  which    are    to  print  are  covered  with  ink,  they  will  absorb   the  ink  and 
give  it    off  on  a  sheet  of  paper,  while    those    parts    that   are   to    remain  white 
will    repel    the    ink.      Hullmandel,    in    his    translation   of    Raucourt's  Manual  of 
Lithography,    1819,    defines    in    his    opening    paragraph    the    art    of   lithography 
extremely    well  :    "  Lithography  is    founded    on    mutual    and    chemical    affinities 
which  hitherto  have  never  been  applied    to    the  art  of  engraving.     The  dislike 
which  water  has  for  all    fat    bodies   and    the    affinity  which  compact   calcareous 
stones    have    both    for    water   and    greasy    substances    are   the    basis    on    which 
rests    this    new    and    highly    interesting   discovery."     This    is    surface    printing, 
lithography,    and    constitutes    the    whole    difference    between    lithography    and 
other  forms  of  engraving  and  printing.      It  does  not  mean  drawing  upon  stone 
or   printing    from    stone.      The    stone   was    an    accidental,    but  a   very  excellent 
material,  the   best    material    that   Senefelder  could    find.      For    several    reasons, 
among  which  are  uniform  composition,  ease  of  polishing,  and  the  fact  that  the 
stone  both  attracts  and  repels  water  and  grease  equally,  though  several   metals 
such  as  zinc  and  aluminium   will  do   the  same,  the  stone  was  and  is  employed. 
The  theory  and   practice  of  chemical  printing,  now  known   as   lithography, 
are  as  follows  :   If  the  stone  is   drawn   upon,  or   has  transferred  to   it  a   design 
in  greasy  ink  or  chalk,   and   this  design    is   washed  with    water,   the    grease  of 
the  design  will   repel    the  water   and   those  parts  of  the   stone    or   plate   which 
are    blank    will    absorb    it.       If    now    a    roller,    charged    with    the    same    greasy 
ink,   is   passed  over  the   flat  surface  of  the  stone,  the   ink  will  come  off  of  the 
roller  and   adhere    to    the    greasy    design.       But    the  blank    parts    of   the    stone 
which    are    wet    will    refuse    to   take    the    ink    from    the   roller   and    will    remain 
blank.     This   is  lithography,   and  it    depends  on    chemical  affinity,    and    not  on 

237 


LITHOGRAPHY  AND   LITHOGRAPHERS 

contact  alone.  For  if  the  plate  or  stone  is  not  damped,  it  will  imbibe  the 
colour  all  over  from  the  roller  and  print  perfectly  black.  But  if  wetted,  it 
takes  the  colour  only  in  those  places  that  are  in  a  state  the  reverse  of  wet- 
ness. The  repelling  therefore  of  the  colour  from  all  those  places  which  are 
to  remain  blank  is  the  basis  of  the  art.  This  chemical  process  of  printing 
is  applicable  not  only  to  stone  but  to  many  substances,  and  printing  from  stone 
is  only  a  branch  of  chemical  printing.  This  is  the  discovery  of  Senefelder, 
and  nothing  has  been  added  to  it,  or  employed  in  this  chemical  printing,  which 
he  did  not  foresee,  except  photography,  and  the  use  of  certain  metals  and 
rubber.  By  means  of  photography  other  branches  of  chemical  printing,  such 
as  photo-lithography  and  collotype,  have  become  practical.  But  these  are  not 
methods  which  much  concern  the  artist,  as  the  design  is  photographed  on  to 
the  flat  surface  and  printed  from  it  without  his  aid.  In  fact  he  cannot  correct 
or  work  on  a  collotype.  But  the  chemical  action,  the  surface  printing,  is 
exactly  the  same.  Senefelder's  aims  were  mainly  the  superseding  by  chemical 
printing  of  engraving,  etching,  and  letterpress  printing,  or  rather  the  cheapen- 
ing of  the  cost  of  printing  by  these  methods,  and  he  was  also  endeavouring 
to  apply  his  invention  to  calico  and  wall-paper  printing.  Though,  he  says, 
these  aims  are  "  sufficient  to  establish  the  usefulness  of  the  new  art,  there  are 
several  other  methods  peculiar  to  it,  not  to  be  imitated  by  type  or  copper-plate 
printing.  Of  these  I  shall  notice  only  the  chalk  manner  by  which  every 
artist  is  enabled  to  multiply  his  original  drawings.  And  secondly  the  transfer 
manner,  by  which  every  piece  of  writing  or  drawing  with  the  greasy  ink  on 
paper  can  be  transferred  to  the  stone  and  impressions  taken  from  it.  This 
last  method  may  one  day  be  of  great  utility." 

These  are  the  lithographic  methods  which  concern  the  artist,  and  they 
were  foreseen  by  Senefelder,  who  called  them  the  "  principal  advantages  which, 
according  to  my  firm  conviction,  lithography  possesses." 

A  second  and  much  more  thorough  examination  of  the  Leipzig  and 
Cologne  Exhibitions,  1914 — visits  to  trade  schools,  galleries,  and  work  in  German 
printing-offices,  the  Pan  Press  in  Berlin — has  enabled  me  to  gather  together 
several  facts  and  gain  a  little  experience.  Printers  and  teachers  and  the 
Germans    gained    something    too. 

In  Germany,  with  few  exceptions,  the  art  schools  are  now  dominated  by 
Post-Impressionism — and  the  students  are  turning  out  with  the  greatest 
ease  and  the  utmost  rapidity  "  masterpieces "  which  would  astonish  the 
followers  of  the  fad  here.  These  outbursts  are  not  confined  to  lithography, 
but  are  dominating  all  artistic  production.  However,  a  similar  craze,  Fart 
noiiveau,  attacked  Europe  a  short  while  ago — and  raged  most  furiously  in 
Germany — and  has  disappeared  leaving  no  trace  behind.  So  the  present 
bubble  will  be  pricked  by  some  new  thing.  Meanwhile  art  will  go  on,  tradition 
will   be  carried   on,  and   now  and  again   an  artist  will  appear  able   to   do  this. 

238 


AuoLPHH  Hf.rviek  :   Landscape. 


X 


TECHNICAL  AND   CRITICAL   INTRODUCTION 

As  to  work  shown  outside  the  present  outburst,  there  was  little  that  I  had 
not  seen  and  that  has  not  been  referred  to,  that  really  was  inspiring. 
But    technically    there    was    much   to    learn. 

The  school  that  impressed  me  most  was  the  Leipzig  Academy — Der 
Koniglichen  Akademie  fur  Graphische  Kunste  und  Buch  Gewerbe — and  this 
is  entirely  devoted  to  the  making  of  the  book.  And  so  far  as  I  can  find 
out  or  have  seen,  there  is  no  school  in  the  world  to  approach  it.  It  is  not 
only  filled  with  students  but  directed  by  eminent  teachers  and  furnished  with 
the  most  modern  machinery.  The  German  lithographic  printing  press  is  the 
most  perfect  machine  I  have  ever  seen — but  I  cannot  say  the  Germans  are 
the  most  perfect  printers— though  they  are  supplied  with  the  best  tools.  The 
presses  are  all  made  by  the  firm  of  Kraus,  of  Leipzig.  The  fundamental 
difference  is  that  in  the  German  lithographic  press  the  scraper  is  fitted  under 
a  heavy  metal  yoke,  which  is  pulled  downwards  on  the  stone  by  a  lever  or 
handle  with  immense  force,  and  the  bed  is  not  raised  up  against  it,  as  in  other 
presses.  The  adjustment  of  the  scraper  is  therefore  better  and  easier,  and 
in  transferring  the  drawing  can  be  put  on  the  stone  by  one  single  pull — 
thus  saving  time  and  the  risk  of  sticking  or  doubling — in  fact,  it  will  stick 
and  double  if  it  is  run  through  more  than  once.  All  the  adjustments  of  the 
press  to  prevent,  for  example,  the  scraper  running  off  the  stone — and  probably 
being  broken  or  breaking — are  most  practical,  while  so  well  are  the  presses 
geared  that  a  large  one  can  be  run  by  one  man,  as  easily  as  a  copper-plate 
press.  Neither  in  the  schools,  the  exhibition,  nor  at  the  Pan  Press  was 
steam  or  other  power — save  that  of  the  printer — used  ;  and  he  did  everything. 
There  were  no  helpers  or  hinderers  about.  One  detail  was,  that  all  stones 
which  wanted  to  be  backed  were  brought  into  the  printing-room  backed — I 
think  they  are  cemented  together — and  endless  time  is  saved  and  filthy  messes 
avoided.  The  German  methods  of  printing  are  quite  different  from  the 
English  and  American.  German  printers  do  not  understand,  or  were  unaware, 
that  drawings  on  prepared  paper,  save  the  chemical  paper  of  Anger  and 
Goeschl,  could  be  preserved,  and  did  not  believe  it,  till  I  proved  it  to  them. 
But  they  were  perfectly  familiar  with  transferring  and  preserving  drawings  on 
ordinary  paper.  They  use  all  sorts  of  paper  that  will  take  lithographic  chalk. 
They  do  not  preserve  ink  or  wash  drawings,  but  do  transfer  them  from 
ordinary    paper.     They    use    Korn's    chalks    and    Lemercier's   inks    mostly. 

The  making  and  keeping  of  drawing  ink,  as  I  have  stated,  has  always 
been    regarded    here  as  difficult. 

The  German  method  is  as  follows  :  A  grlass  bottle  with  a  grlass  air-tisfht 
stopper  is  taken  and  a  slab  of  lithographic  Lemercier's  ink  is  cut  up  into 
this.  To  these  small  shavings  enough  water  is  added  to  cover  them  ;  the  ink 
gradually  dissolves,  and  forms  a  paste  after  some  days.  Some  of  this  when 
wanted   is  taken  out  with  a  knife  or  spoon  and  placed  on  a  water-colour  slate 

241 


LITHOGRAPHY  AND   LITHOGRAPHERS 

or  slab  and  the  bottle  restopped  ;  the  paste  is  then  thinned  down  to  different 
tones  or  used  as  ink,  with  pen  or  brush,  when  diluted  with  water.  The 
paste  in  the  bottle  is  of  a  uniform  strength,  and  I  am  told  it  will  keep  for 
years.  Mr.  Ernest  Jackson  tells  me  he  has  tried  this  method  or  an  adaptation 
of  it.  He  puts  the  entire  stick  in  the  bottle  and  lets  it  dissolve,  and  to 
the   mixture   he   adds   a  few  drops   of  oil   of  lavender. 

In  the  printing-office,  however,  of  Messrs.  Wagner  and  Debes,  of 
Leipzig,  map  publishers,  where  the  most  accurate  drawing  and  uniform  black 
is  required,  the  French  ink  called  ioiuher  is  ground  in  the  usual  way  as 
wanted,  by  rubbing  the  lump  on  a  heated  saucer  or  slab.  But  the  map 
draughtsmen  in  Messrs.  Warner  and  Debes'  are  the  most  amazing  technicians 
— men  of  the  utmost  accuracy  and  patience,  as  the  maps  in  Baedeker's 
Guides    prove. 

The  other  method  is  one  for  artists,  and — as  the  results  in  the  hands  of 
artists    prove — an    excellent    one. 

As  for  artistic  printing,  save  in  the  Leipzig  Academy — where  every- 
thing was  shown  me  and  I  was  asked  to  give  a  demonstration — there  was 
the  usual  old  trade-secret  system  in  vogue  ;  in  fact,  the  method  was  the 
worst  I  have  ever  seen.  The  artist  sent  in  his  drawings  on  paper — and  while 
I  was  working  in  Berlin  they  came  not  only  from  all  over  Germany  but 
from  Amsterdam  and  Vienna  by  post — and  the  proofs  were  returned  by  post. 
The  artists  rarely,  if  ever,  saw  their  work  put  on  stone  or  printed  ;  they 
simply  made  corrections  on  the  stones,  sent  them,  or  wrote  these  corrections 
on  the  proofs.  But  I  insisted  on  seeing  the  work  done,  and  stood  by  the 
press  while  it  was  done.  But  in  the  end  there  were  so  many  failures  and 
the  proofs  were  so  little  like  my  drawings  that  I  refused  to  go  on,  and  the 
German  artists  whom  I  talked  to,  all  told  me  that  this  was  the  trouble  in 
Germany  ;  the  printer  was  the  artist,  and  not  the  man  who  made  the  drawing. 
With  such  a  system  it  is  impossible  to  obtain  the  best  work  or  good  work 
at  all.  But  the  German  artists  have  trained  themselves  to  work  for  the 
printer  and  given  up  trying  to  get  him  to  work  for  them  or  with  them.  I 
understand  Herr  Kappstein  has  rebelled  and  written  a  treatise  on  printing.  I 
have  not  seen  it,  but  from  printers  heard  it  condemned ;  but  I  have  seen 
Herr   Kappstein's  work  and  it  is   technically  the  best   in  Germany  to-day. 

The  method  of  transferring  from  plain  paper  practised  at  the  Pan  Press 
is  as  follows  :  The  stone  is  covered  with  alcohol  or  spirits  of  wine.  This  is 
lighted  and  the  process  repeated  two  or  three  times.  The  stone  is  then  cleaned 
with  turpentine  and  whitening,  I  believe,  and  while  still  hot  the  drawing  is 
placed  face  downwards  on  it  and  run  through  the  press  once.  It  comes  off 
perfectly,  the  drawing  remaining  on  the  paper,  the  grease  adhering  to  the 
stone,  which  is  then  gummed  and  rolled  up,  and  if  then  treated  as  we 
artists    treat   drawings,    splendid    proofs   would    probably    be    obtained ;    and    I 

242 


H.  Dekoy  :    Portrait  of  Baudelaire. 


TECHNICAL  AND  CRITICAL  INTRODUCTION 

have  obtained  them  in  Berlin,  though  I  believe  the  method  of  heating 
melts  the  chalk  all  over  evenly  and  spreads  the  work.  But,  instead,  all  the 
old  litho  tricks  are  resorted  to,  and  more,  every  drawing  is  treated  in  the 
same  way — a  machine  could  do  it  better — and  to  this  is  added  the  reckless 
use  of  the  rag  soaked  in  ink  and  turpentine  to  bring  up  the  drawing.  It 
does  bring  it  up — of  a  uniform  flat,  fat,  dead  level,  utterly  without  quality, 
every  line  of  equal  slackness  and  breadth,  while  where  it  is  too  heavy  it  is 
soused  with  acid  and  whole  pieces  etched  away,  or  washed  and  rubbed  with 
turps  till  all  the  bloom  is  gone,  and  a  weak  woolly  tone  comes  all  over  it. 
The  printer  has  no  idea  of  allowing  the  artist  to  etch  his  work  or  of 
etching  it  himself,  save  by  rubbing  it  all  over  with  a  sponge  or  brush  dipped 
in — to  my  idea — much  too  strong  acid.  The  German  ink,  too,  is  weak,  it 
seems  to  me,  and  if  brown  is  wanted,  blues  and  reds  and  yellows  enough 
to  make  a  rainbow  are  added,  and  the  result  is  mud.  I  do  not  think  the 
ink  is  really  good,  and  the  rolling  up  is  invariably  overdone  in  the  old 
all-over  fashion. 

But  though  I  pointed  out  what  I  wanted  and  showed  the  printer  how  to 
get  it,  he  failed  to  do  so,  and  finally  refused  to  work  while  I  was  about. 
Under  such  conditions,  even  with  their  excellent  machinery  no  excellent,  or 
even  tolerable,  results  can  be  obtained,  and  I  refused  to  go  on.  The  paper, 
Jap  and  Van  Gelder,  or  plate  paper,  is  used  dry,  mostly — always  in  my  case. 
Damping  is  practised,  but  it  was  not  done  for  me.  On  the  other  hand, 
when  the  prover  gets  a  proof  he  likes,  the  stone  is  then  turned  over  to  the 
printers  in  another  room,  who  never  even  look  at  the  original,  but  multiply 
the  proof  given  them  with  a  uniformity  that  is  as  unbelievable  as  it  is  a  fact. 
It  is  magnificent,  but  it  is  not  art.  The  mutual  consultation  of  artist  and 
printer  seems  unknown,  and  it  is  surprising  that  the  results  are  as  good  as 
they  are. 

Most  German  lithographs,  however,  are  supposed  to  be  sketches,  big  and 
bold,  sketches  in  chalk,  wash  and  ink,  which  look  like  chalk,  wash  and  ink 
drawings  and  have  no  lithographic  quality  whatever.  These  can  be  put  on 
the  stone,  or  drawn  on  the  stone  easily,  and  printed  easily ;  they  have 
no  lithographic  quality  ;  but  all  good  work  is  done  slowly  and  with  difficulty. 
On  the  other  hand,  endless  time  and  trouble  are  taken  in  teaching  and 
practising  the  old  methods.  Some  of  the  results  are  astounding  as  copies, 
but  the  original  artist  has  nothing  to  do  with  the  matter,  and  I  was  more 
impressed   by  the  machinery   than  the  art. 


245 


DESCRIPTION     OF    THE 
STONE   AND   METALS 


CHAPTER    IX 

THE  stone  which  is  almost  universally  used  for  the  purpose  of 
lithography  is  a  sort  of  calcareous  slate  quarried  mostly  at  Kellheim, 
or  Solenhofen,  Germany.  The  stones  from  these  quarries  are 
better  adapted  to  lithography  than  any  others  that  have  been 
found.  The  best  stones  should,  according  to  Senefelder,  possess  the  following 
qualities.  The  thickness  must  always  be  in  proportion  to  the  size  ;  the  larger 
they  are  the  thicker  they  must  be.  In  general,  the  best  thickness  of  a 
stone  is  from  two  to  two  and  a  half  inches.  The  harder  the  stones  the 
better  they  are  for  the  different  manners  of  drawing  upon,  or  printing  from, 
provided  their  substance  be  uniform.  If  not,  and  there  are  spots  or  softer 
parts,  the  drawings  or  prints  from  them  may  be  smeared  or  not  take  the 
colour  from  them  uniformly.  Even  the  best  stones  often  have  defects,  such  as 
holes,  veins  and  fissures,  or  fossils,  and  although  to  the  professional  lithographic 
copyist  these  are  serious  defects,  unless  there  is  a  decided  line  across  the 
stone  which  prints,  or  a  hole  in  an  important  place,  they  are  not  of  much 
consequence  to  artists.  Some  stones,  too,  have  patches  of  chalk  or  bits  of 
o-lass  or  fossils  in  them,  and  these  are  most  unpleasant,  as  they  either  may 
absorb  too  much  ink  or  repel  it,  and  they  also  may  shale  off  or  break  in  the 
press.  The  soft  stones,  if  not  very  thick,  are  apt  to  break,  but  as  they 
retain  more  colour,  more  ink,  than  the  hard  ones,  they  give  a  richer  effect. 
But  as  they  absorb  the  ink  more  rapidly,  they  give  fewer  impressions,  as  the 
ink  both  spreads  and  sinks  into  the  stone  rapidly,  and  the  drawing  gets,  as 
the  printers  say,  "  bunged  up."  The  stone  should  be  at  least  an  inch 
laro-er  all  round  than  the  drawing  on  it.  Otherwise  it  causes  great  incon- 
venience to  the  printer  both  in  inking  and  pulling  the  proof  Lithographic 
stones,  which  are  sold  by  weight,  can  now  be  bought  anywhere  of  lithographic 
dealers.  Marble,  artificial  stone,  glass,  wood,  zinc,  aluminium,  anything  that 
will  absorb  and  repel  grease  and  water,  may  be  used,  but  stone  is  the 
most  reliable  and  generally  employed.  Lithographers  prefer  greyish  stones  ; 
most  artists  like  yellowish  ones,  as  they  approach  in  colour  the  print 
from  them  on  paper.  At  the  present  time  zinc  and  aluminium  are  exten- 
sively used  to  replace  the  stone,  as  they  answer  equally  well.  There  is, 
however,  in  England  especially,  a  great  opposition  among  lithographers,  or 
has    been  until    lately,    to  the    use  of  these  metals   for   the    simple   reason    that 

246 


F.  Brangwyn  :  The  Docks. 
Drawn  on  stone.     This  drawing  was  printed  in  two  colours. 


DESCRIPTION   OF  THE   STONE   AND   METALS 

lithographers  frequently  own  some  thousands  of  stones,  a  valuable  asset,  as  a 
stone  lasts  for  years,  and  they  do  not  wish  to  scrap  them.  The  professional 
lithographer  will  tell  you  that  a  zinc  or  aluminium  plate  will  not  give  prints  as 
good  as  those  from  stone.  There  is  no  truth  in  it.  The  real  reason  is  that 
proper  experiments  have  not  yet  been  made  with  zinc  and  aluminium  by 
printers  or  by  artists.  Besides  which,  a  dozen  or  fifteen  aluminium  plates  of 
the  same  size  take  up  only  the  space  of  one  stone,  and  the  whole  of  them 
do  not  weigh  as  much  as  the  single  stone,  and  in  printing  they  are  simply  laid 
down  on  the  top  of  a  stone  in  the  press  and  printed  from.  The  stones  also 
are  very  brittle  and  a  slight  shock  may  break  them.  Aluminium  and  zinc 
will  stand  any  amount  of  rough  usage. 


POLISHING   THE    STONE    AND    METALS. 

Before  the  stones  are  used  they  must  be  polished.  This  is  done  by 
rubbingr  two  stones  together,  face  to  face,  with  fine  sand  mixed  with  water 
sprinkled  between  them.  Two  surfaces  are  thus  polished  at  the  same  time. 
If  a  smooth  surface  is  required,  they  are  polished  finally  with  pumice  or  other 
fine  polishing  material.  If  they  are  to  be  grained,  they  are  polished  with 
different  grades  of  sand  which  give  either  a  coarse  or  fine  grain  to  the  stone. 
The  artist  must  judge  of  this  and  he  can  feel  the  grain  probably  better  than 
he  can  see  it,  though  if  he  hold  the  stone  at  an  angle  of  forty-five  degrees 
and  look  closely  along  it,  he  can  clearly  see  the  grain  that  is  upon  it. 
Different  degrees  of  grained  sand  may  also  be  used  on  the  same  stone, 
coarser  for  the  foreground  and  finer  for  the  distance.  But  this  graining  must 
be  directed  by  the  artist,  and,  with  practice,  it  produces  a  great  variety  in 
the  drawing.  When  the  drawing  is  transferred  from  paper  to  stone,  this 
variety,  or  the  smooth  stone  itself,  can  be  taken  advantage  of  by 
the  artist.  That  is,  if  the  paper  is  of  a  rough  grain,  it  can  be  put  on  a 
smooth  stone,  or  if  of  a  fine  grain  on  a  rough  one.  The  professional  litho- 
grapher is  never  tired  of  praising  the  stone  and  its  beautiful  grain  and 
running  down  every  other  material  and  every  other  method  of  chemical 
printing.  As  a  matter  of  fact,  the  natural  grain  of  the  stone,  when  it  exists, 
has  to  be  removed,  and  the  grain  that  is  put  on  it  is  the  grain  of  the  sand 
and  purely  artificial.  Marble,  slate  and  other  stones  may  be  grained,  but  the 
Solenhofen  stone  is  the  most  reliable. 

Zinc,  aluminium,  tin  and  other  metals  may  be  polished  or  grained  like 
stone,  though  the  sand-blast,  or  steel  balls  rolling  over  sand,  is  used 
now  for  graining  them.  To  the  artist  the  advantage  of  using  these 
light  metal  plates  is  very  great,  as  he  can  carry  them  about  with  him 
out  of  doors  and  work  directly  upon  them,  or,  when  in  his  studio,  put 
them    on    his    easel    or    drawing-table    without    the    assistance    of    a    couple    of 

249 


LITHOGRAPHY  AND   LITHOGRAPHERS 

men,  or  a  derrick,  or  a  team  of  horses  and  a  van.  Beyond  this,  there 
is  no  real  advantage,  as  the  stone  talces  the  work  just  as  well  as  the  zinc 
or  aluminium.  Printers  also  maintain  that  the  drawing  does  not  sink  into 
the  metal  plate  but  remains  on  the  surface,  while  it  is  absorbed  by  the 
stone.  It  is  a  fact,  however,  that  it  is  very  much  easier,  once  the  drawing 
is  being  printed,  if  corrections  are  to  be  made,  to  make  them  on  the  stone, 
or  to  remove  work  from  the  stone,  than  from  metal.  The  work  does  dis- 
appear from  the  metal,  but  it  frequently  comes  back  again,  and  if  one  scrapes, 
or  burnishes,  on  zinc  or  other  metals,  black  scratches  instead  of  lights  are 
often  produced.  However,  the  use  of  metal  and  stone  is  a  personal  matter. 
And  the  artist  will  use  both  at  various  times.  But  the  preparation,  the 
graining  and  polishing  of  stones  and  plates,  are  best  done  by  those  who 
have  devoted  themselves  to  the  work,  though  an  unequal  grain  on  the 
same  stone  will  require  the  artist's  supervision.  Senefelder,  all  his  life,  was 
endeavouring  to  discover  or  invent  a  composition  upon  paper,  on  which  he 
could  draw  and  then  print  from,  which  he  called  stone  paper,  and  which 
he  believed  would  supersede  everything  else  ;  but  the  stone  paper  has  never 
yet  been  perfected. 


250 


Anthony  K.  Barker  :  Thk  Theatre. 
Poster  for  Underground  Railway.     Drawn  on  paper,  transferred  to  stone,  printed  by  Vincent  Brooks. 


CHALKS,    INKS,    ETCHING, 
GROUNDS    AND    COLOURS 


CHAPTER    X 

ALL  the  materials  necessary  for  drawing  upon  paper  or  stone  can 
be  made  by  the  artist,  and  Senefelder,  Hullmandel  and  Engelmann 
give  full  descriptions  of  the  methods  of  making  chalks  and  inks. 
But  there  is  no  more  reason  now,  for  the  artist  to  make  his  litho- 
graphic materials,  than  to  make  his  lead  pencils  and  Indian  ink.  In  fact, 
those  made  by  the  manufacturers  are  better,  because,  being  made  after  the 
same  formula,  and  in  larger  quantities,  they  are  more  uniform  and  reliable. 

LITHOGRAPHIC   CHALK. 

Lithographic  chalk  is  composed  of  wax,  soap,  lamp  or  French  black, 
or  some  similar  greasy  ingredients,  with  which  the  black  colour  is  mixed. 
The  black  is  added  that  the  artist  may  see  his  work,  as  there  is  little  or  no 
colour  in  the  grease  of  the  chalk.  It  is  no  longer  necessary  for  the  artist  or 
lithographer  to  make  it,  as  it  is  now  produced  of  a  uniform  quality  by  various 
makers.  That  made  by  William  Korn  of  New  York,  and  sold  by  all  dealers 
in  lithographic  materials,  is  very  satisfactory.  In  making  chalk  drawings  there 
is  one  thing  to  remember,  and  that  is  always  to  use  the  same  make  of  chalk 
in  the  same  drawing,  because  if  different  chalks  are  used,  though  the  drawing 
may  look  equally  black,  when  printed  it  may  be  filled  with  light  spots  or 
dark  spaces  owing  to  the  fact  that  the  ingredients  in  the  different  makes  of 
chalk  are  different,  and  thus  may  contain  more  or  less  grease,  and  it  is  the 
grease  alone  which  prints.  The  chalks  are  made  up  in  sticks  or  slabs  and 
cakes  and  vary  from  the  hardest  copal  to  the  softest  stumping  chalk.  There 
are  four  or  five  grades,  from  the  hardest  to  the  softest.  As  most  makers 
number  these  differently,  it  is  necessary  to  know  the  hardness  or  softness  of 
the  chalk  before  using  it.  Korn's  chalks  are  put  up  in  paper  pencil  form 
and  are  much  more  convenient  to  work  with,  while,  as  the  fingers  do  not 
touch  the  chalk  and  soften  it,  they  can  be  used  in  all  sorts  of  temperatures. 
Actors'  grease  paint  is  very  nice  to  use ;  but  as  there  is  very  little  adhesive 
quality  in  the  grease — or  little  grease  in  the  paint — drawings  made  with  it 
are  liable  to  be  poor  and  weak  when  printed,  though  they  may  look  powerful 
on  paper  or  stone.  Almost  any  substance  containing  grease  may  be  used  to 
draw  with.     The    professional  lithographer   usually   employs   a  porte-crayon,  an 

253 


LITHOGRAPHY  AND  LITHOGRAPHERS 

abominable  and  clumsy  instrument.  Most  artists  hold  the  chalks  in  their 
fingers,  but  in  hot  weather  they  become  soft  and  difficult  to  use  ;  therefore 
Korn's  pencils  are  most  useful. 

INKS. 

The  ink  is  only  another  form  of  the  chalk  which  may  be  ground  down, 
like  a  dry  watercolour,  or  a  stick  of  Indian  ink,  and  dissolved  in  distilled 
water  or  rain-water.  The  method  of  doing  this  is  to  heat  a  saucer,  rub  the 
ink  (chalk)  which  melts  on  it,  and  then  mix  it  with  water  ;  the  drawing  is  either 
then  made  with  a  brush  or  the  ink  is  put  on  the  pen  with  a  brush — any 
fine  lithographic  pen  may  be  used.  The  ink  will  not  keep  long.  It  is  very 
much  better  to  grind  it  freshly  every  day.  There  are  liquid  inks  made,  but 
most  of  them  do  not  seem  to  last  for  any  time.  See  also  remarks  on  this  in 
Introductory  Technical  Chapter. 

ETCHING   GROUNDS. 

For  etching  upon  lithographic  plates  or  stones  ordinary  etching  ground 
may  be  used,  applied  in  the  ordinary  way  that  etchers  apply  it,  though  it 
is  necessary  to  use  a  liquid  ground  for  stone,  as  the  stone  cannot  be  heated 
enough  without  cracking  to  apply  it  satisfactorily.  For  covering  plates  with 
a  flat  and  acid-resisting  ground,  through  which  it  is  intended  to  scrape  or 
scratch,  bitumen  or  asphaltum  can  be  poured  over  the  face  of  the  stone  and 
it  will  resist  the  acid — or  ink  may  be  rolled  on  the  stone  with  a  roller,  allowed 
to  dry,  and  the  drawing  then  made,  in  either  case,  with  an  etching  needle 
by  scratching  through  the  ground.  If  a  weak  etching  solution  is  used,  the 
ink   will   resist  it,   and  the   acid   will  act  on   the  drawing  alone. 

The  same  grounds  made  of  asphaltum  or  bitumen,  on  a  rough-grained 
stone,  may  have  the  drawing  scraped  out  by  mezzotint  tools  exactly  in  the 
manner   of  that  art. 

PRINTING    INK. 

The  printing  ink  is  now  supplied  by  lithographic  dealers.  It  is  sold  in 
tins  ready  mixed.  The  colouring  pigment  of  the  best  ink  is  lamp  black.  If 
too  strong,  varnishes  and  oils  may  be  mixed  with  it  to  thin  it.  In  lithography 
the  ink  plays  the  most  important  part  and  usually  each  drawing  requires  a 
different  strength  of  ink.  A  lithograph  demands  the  same  careful  printing  as 
an  etching.  The  printer  can  use  a  thin,  weak  ink  much  more  easily,  and  with 
less  work  in  rolling,  than  a  thick,  stiff  one,  and  he  will  if  not  watched.  The 
drawing  requires  far  less  inking,  and,  unless  he  too  is  an  artist,  he  will  use  it  on  all 
occasions,  with  the  consequence  that  many  drawings  are  utterly  ruined  after  a  few 
impressions,  entirely  his  fault,  because  the  ink,  being  thin,  not  only  clings  to  the 
line   but  sinks   into  the  stone  and  spreads  all  over  it,  producing  a  dirty  smear 

254 


(i.  Spencer  Pkyse  :  The  Football  Match. 
Drawn  on  stone  by  the  artist  in  colour. 


CHALKS,    INKS,    ETCHING   GROUNDS   AND   COLOURS 

which  never  can  be  removed.  And  the  professional  printer,  unless  he  is  an 
artist,  will  use  ink  of  an  inferior  quality.  Even  the  lithographic  ink  manu- 
facturer, for  some  reason  known  only  to  himself,  will  sell  it  to  you.  What 
is  described  as  the  best  lithographic  ink  will  cost  four  shillings  a  pound. 
The  really  best  costs  twelve — Richmond,  in  the  Grammar  of  Litho- 
graphy, says  forty.  One  quarter  of  the  best  will  go  as  far  as  the  whole 
of  the  other.  Yet  the  printer  uses  the  inferior  ink  because  he  can  cover  the 
design  with  it  more  easily  and  with  less  work.  The  thick  ink  does  not 
spread  so  much,  but  it  takes  much  longer  to  roll  up  the  design.  The  design 
when  properly  inked  should  be  beautifully  sharp  and  clear.  But  unless  the 
printer  is  a  man  of  intelligence  and  feeling,  he  is  liable  to  spoil  any  drawing. 
The  only  sure  way  to  success  is  for  the  artist  either  to  print  himself  or 
stand  beside  the  printer.  If  the  work  is  left  to  the  printer,  it  may  be  from 
the  professional  lithographer's  point  of  view  very  fine,  but  from  the  artist's 
very  bad.  At  times  the  tint  accidentally  got  by  the  printer  is  good,  but  it  always 
is  an  accident.      But  the  getting  of  ink  tints  will  be  referred  to. 

To  sum  up,  "lithographic  ink,"  says  Hullmandel,  "to  be  good  must 
come  clean  off  on  the  paper  and  leave  no  traces  behind  on  the  stone.  When 
this  takes  place  the  ink,  with  which  the  stone  is  charged  again,  is  retained  on 
it,  merely  by  the  chemical  affinity  which  it  has  for  the  greasy  lines  of  the 
drawing.  The  whole  success  of  printing  depends  on  the  perfection  of  the 
ink."  If  it  clings  to  the  stone,  instead  of  coming  off  on  the  paper  in  print- 
ing, the  dark  portions  of  the  design  will  become  faint  while  the  light  parts 
will  print  dark,  and  all  those  parts  where  too  much  ink  remains  and  collects 
cannot  stand  the  pressure  from  the  press  and  the  ink  will  spread,  clog  up  all 
the  lines,  and  destroy  the  drawing. 


257  K 


OF    ACIDS    AND    OTHER    COMPOSI- 
TIONS   TO    PREPARE   THE    STONE 


CHAPTER    XI 

IN  order  that  the  stone,  or  plate,  may  be  printed  from,  that  is,  absorb 
and  repel  the  ink,  it  must  be  prepared.  After  the  drawing  is  either 
transferred  to,  or  made  upon  the  stone,  this  must  be  done.  There  is  no 
fixed  rule  as  to  the  method.  One  printer  will  set  the  stone  or  plate  aside 
for  a  day  or  more  without  touching  it  and  then  take  a  sponge,  charged  with 
gum  arabic  dissolved  in  water,  and  gently  pat  or  dab  the  face  of  the  entire 
stone  with  it.  On  no  account  should  the  drawing  be  washed  with  the  sponge 
from  side  to  side,  or  the  drawing  may  be  smeared,  and  at  this  stage  it  is 
very  sensitive  and  fragile.  Another  printer  will  dab  it  at  once.  Senefelder 
recommends,  in  the  case  of  drawings  that  are  transferred  to  the  stone,  that  they 
should  be  washed  with  nitric  acid  before  being  gummed.  But  no  printers  seem 
to  do  this  at  present.  I  believe  it  would  wash  off  the  drawing.  The  gum  is 
used  because,  if  a  few  drops  of  gum  arabic  are  dissolved  in  water  and  the 
stone  wet  with  it,  the  bare  parts  of  the  stone  will  not  take  colour  so  long  as 
it  is  wet.  And  if  the  bare  stone,  which  has  been  washed  with  the  gum, 
becomes  too  dry  and  the  ink  adheres  to  it,  ihe  ink  will  wash,  or  roll,  off  as 
soon  as  the  stone  is  damped  again.  The  gum  gets  into  the  pores  and 
between  the  grain  of  the  stone  and  prevents  not  only  the  ink  from  penetra- 
ting it,  but  the  stone  from  drying.  The  acid  merely  fixes  the  drawing  and 
prevents  it  from  spreading.  The  design  on  the  stone  is  not  bitten  into  relief. 
The  gum  protects  the  stone  and  prevents  it  from  receiving  the  ink.  This  is 
the  method  of  preparing  the  stone  for  printing.  To  explain  the  chemical 
action  would  take  pages.  The  artistic  manner  of  preparing  drawings  can  be 
explained  in  a  few  lines. 

After  the  drawing  has  been  washed  or  dabbed  with  the  gum,  and  is 
allowed,  if  possible,  several  hours,  or  a  day,  to  soak  into  the  stone,  or  plate,  and 
dry  thoroughly,  the  stone  or  plate  with  the  drawing  on  it  should  be  washed  with 
water  to  remove  the  sum  which  covers  the  surface.  But  the  oum  cannot  be 
removed  with  water  from  the  untouched  part  of  the  stone.  It  only  comes  off  the 
design  upon  it.  The  printer  then  dampens  it  again,  slightly  rubbing  it  all  over 
with  a  soft  damp  rag  or  sponge,  and  he  then  begins  to  cover  the  wet  stone  with 
ink  from  his  roller,  which  only  adheres  to  the  drawing.  This  may  take  some 
time,  especially  in  the  case  of  transfers,  or  the  drawing  in  ink  may  appear 
sharp,    distinct,  and    black  at   once.      As    soon    as    it    looks    sufficiently  strong, 

258 


H.  Becker  :  The  Mower. 
Poster  for  the  Underground.     Drawn  on  paper,  transferred  to  stone,  printed  by  Vincent  Brooks. 


OF  ACIDS  AND   OTHER   COMPOSITIONS 

an  impression  should  be  pulled,  and,  if  it  is  right,  the  light  parts  will  get  their 
necessary  strength  first,  then  a  soft  brush  charged  with  nitric  acid  and  water 
(twenty  parts  of  acid  to  one  of  water)  for  stone  ;  nutgall  and  gum  water  (half 
and  halt)  for  zinc  ;  there  are  special  etching  solutions  for  aluminium  ;  should  be 
passed  over  those  parts  which  are  sufficiently  strong ;  the  acid  should  first 
be  tried  on  the  edge  of  the  stone  to  test  its  strength,  and  then,  If  not  rieht, 
weakened  or  increased — thus  preventing  those  parts  from  absorbing  any 
more  ink  or  spreading,  in  fact,  stopping  the  part  out.  If  the  acid  bubbles 
furiously  it  is  too  strong,  it  but  little  it  is  too  weak  ;  lithographic  printers 
judge  the  strength  by  putting  a  drop  on  the  tongue.  Before  the  acid  is 
applied,  the  stone  should  be  again  inked  with  a  roller.  Otherwise,  as  the 
ink  has  left  the  stone  and  adhered  to  the  paper,  the  lightest  greasy  lines  in  the 
stone  or  plate  may  be  bitten  entirely  away  by  the  acid.  For  the  ink  not  only 
gives  the  colour  to  the  print,  but  protects  the  lines  as  well  from  the  acid. 
A  series  of  proofs  should  be  pulled,  following  this  method  of  pulling,  inking, 
and  etching,  until  the  entire  stone  or  plate  is  etched.  Some  printers  build 
up  a  border  around  the  edge  of  the  stone  and  cover  the  surface  with  diluted 
acid.  This  method  is  entirely  wrong,  though  Senefelder  recommends  it,  and 
the  reason  it  is  wrong  is  because,  in  order  to  protect  or  etch  the  darker 
lines,  the  fine  faint  ones  are  frequently  completely  etched  away.  Therefore, 
the  method  of  etching  the  design  with  a  brush — that  is,  painting  the  parts 
sufficiently  strong  with  a  brush  ;  if  there  is  a  large  space  to  be  etched  a 
sponge  may  be  used — is  to  be  preferred.  In  fact,  it  is  the  only  artistic 
method  of  etching.  As  soon  as  the  plate  or  stone  is  ready  to  be  printed 
from,  and  once  the  etching  is  completed,  it  is  ready  ;  if  the  printing  is  not  to 
be  continued,  the  stone  or  plate  must  be  at  once  rolled  up  with  ink,  and 
washed  with  the  gum  water,  which  is  allowed  to  dry  on  it.  This  alone  will 
protect  the  drawing.  The  stone  then  may  be  safely  put  away.  Unless  gummed 
up  and  protected  it  will  not  last.  Finally,  do  as  little  etching  as  possible,  and 
delay  that  till  the  last  minute,  for  etching  a  lithograph  is  a  most  dangerous 
and  delicate  operation.  Etching  is  the  easiest  and  quickest  way  of  ruining  a 
drawing,  the  most  difficult  way  of  improving  it. 


261 


OF    NECESSARY    INSTRU- 
MENTS    AND     UTENSILS 


CHAPTER    XII 

IN  no  form  of  art  are  so  few  working  materials  necessary  as  in  litho- 
graphy— that  is,  in  artistic  lithography.  An  artist  may  travel  all  over  the 
world  furnished  only  with  blocks  or  sheets  of  drawing  paper,  a  few  boxes 
of  chalks,  and  a  sharp  penknife.  If  he  wishes  ink  or  wash  he  can  grind 
the  chalks  down  and  use  either  a  pen  or  a  brush  to  make  his  drawing  with. 
To  these  indispensable  articles  may  be  added  different  sorts  of  chalk  or  any 
other  greasy  material,  such  as  actors'  grease  paint,  or  creta  levis  pencils,  or 
any  other  substance  which  contains  grease.  Even  some  lead  pencils  do.  But 
none  of  these  are  ever  reliable,  and  it  is  therefore  best  to  confine  oneself  to 
one  make  of  chalk.  M.  Duchatel  recommends  the  artist  to  use  not  only  the 
same  make  of  chalk  but  for  each  drawing  only  one  number  of  it — that  is,  the 
same  chalk  for  the  entire  drawing^  getting  colour  bv  bearing  on  it  for  darks 
and  using  it  lightly  for  lights. 

A  soft  large  flat  brush,  such  as  is  supplied  with  copying  presses,  is 
useful  for  removing  bits  of  chalk  or  dirt  which  may  stick  to  the  paper  and 
in  transferring  smear  the  stone. 

Mezzotint  rockers,  scrapers  and  roulettes  may  be  indulged  in.  But 
besides  a  very  sharp  penknife,  the  only  instrument  which  is  of  use  on 
stone — and  a  heavy  penknife  will  do  just  as  well — is  called  a  Jumper,  which, 
if  passed  over  a  portion  of  the  drawing,  will  clean  the  ink  or  grease  from  the 
top  of  the  dots  on  a  grained  stone  and  give  an  effect  very  like  mezzotint. 
An  endless  number  of  other  tools  can  be  added,  but  these  are  the  only 
ones  that  are  indispensable. 


26: 


Paul  Maurou  :  The  Vision. 
After  H.   Martin. 


OF    PAPERS 


CHAPTER    XIII 

TRANSFER    PAPERS. 

IF  the  drawing  is  not  made  upon  tlie  stone  or  metal  direct,  it  must  be 
made  on  paper.  The  transferring-  of  drawings  to  the  stone  is  done  in 
exactly  the  same  way  as  any  other  sort  of  transferring  ;  that  is,  either  the 
sketch,  if  in  lead  pencil  or  charcoal,  can  be  laid  face  downward  on  the 
stone  and  run  through  the  press,  when  it  will  come  off  sufficiently  to  enable 
the  drawing  to  be  carried  out  in  lithographic  chalk,  ink,  or  wash — of  course 
no  greasv  materials  must  be  used  ;  or  it  may  be  traced  in  the  ordinary  way 
by  means  of  red  chalk,  or  a  dozen  other  ways,  all  of  which  are  known  to  artists. 
The  one  precaution  is  not  to  use  grease,  when  every  line  transferred  or  traced 
would  print.  But  if  the  drawing  is  made  with  lithographic  chalk,  pen  or 
wash,  for  the  purpose  of  transferring  to  the  stone,  it  may  be  done  on  one  or 
two  sorts  of  paper.  Any  sort  of  ordinary  drawing  paper  that  the  artist  happens 
to  like — Japanese  tracing  paper  is  equally  good — may  be  used.  The  paper 
requires  no  preparation  and  the  artist  draws  upon  it  with  lithographic  chalk 
or  ink  or  wash  without  thinking  of  anything  at  all  e.xcept  his  drawing.  As 
Hullmandel  says,  "The  draughtsman  should  be  supplied  with  materials  similar 
to  those  he  is  in  the  habit  of  using.  Otherwise,  by  obliging"  him  to  employ 
tools  he  is  a  stranger  to,  you  run  the  risk  of  cramping  his  genius  and  make 
it  impossible  to  realize  his  usual  spirit  and  freedom  of  touch."  M.  Duchatel, 
in  his  Mamiel  de  la  Lithographie  Artistique,  says  "the  artist  has  no  need  of 
a  special  education  in  order  to  make  lithographs  and  should  go  at  his  work 
boldly,  without  bothering  over  trivial  accidents,  for  he  can  correct  them 
with  the  greatest  ease,  and  he  neither  wants  special  tools  nor  a  special 
education  to  make  a  fine  lithograph."  There  is  only  one  drawback  to  the 
use  of  plain  paper  :  corrections  cannot  be  made  on  it.  It  is  impossible  to 
remove  the  chalk  without  making  smears  which  print.  Any  kind  of  correction 
can  be  made  when  the  drawing  is  transferred  to  the  stone  or  the  plate. 
Therefore  many  artists  use  some  sort  of  paper  which  has  a  thin  coat  of  com- 
position of  size,  or  starch,  or  plaster-of- Paris,  applied  to  one  side  of  it.  It  is  so 
thin,  when  properly  made,  that  it  is  invisible  and  the  grain  of  the  paper,  if  it 
has  a  grain,  comes  through  it  ;  while  if  the  paper  is  smooth  there  is  enough  grain 
in  the  composition  to  give  a  tooth  to  the  chalk.  There  is  only  one  thing  to 
remember  in  using  this  paper  :  though  it  is  easy  to  make  corrections,  and 
equally    easy    to    draw    over    those    parts    where    the    corrections    have    been 

26=:  K* 


LITHOGRAPHY  AND   LITHOGRAPHERS 

made,   the  drawing  so  made,   if  the  composition   has   been  entirely  removed   by 

scraping,  will   not   transfer  to  the  stone  and  print.      This  is  a   fact  which   is   not 

understood     by    any    artist    or    printer.      The    artist     may    draw    with    perfect 

certainty,    either    on    plain    or    on    prepared    paper,   but  he   cannot  combine    the 

two.      He   should    therefore  wait   to  make   his  corrections,   until  he  has   finished 

his  drawing,  and  then   make   them,   in    such  a   manner,   with  a  sharp  penknife, 

that    he    will    not    have    to    draw    again    over    the    part    he    has    corrected,    and 

he   should  endeavour   also,   if  possible,    not    to    scratch    completely    through    the 

composition.       Some    artists     in    order    to    make    corrections    paste    a    piece    of 

paper  over  the  part   they  wish   to  correct ;  or  a  better  way   is  to    cut    out  the 

defective    part,    paste   some  clean  paper  on  the  back,  and    redraw    the    cut    out 

portion.      This  must  not  be  fixed  with  gum  or  grease,  but  flour  paste.  ■      Others 

apply    the    composition,   painting    out    the    defect,  with  a  brush,    but    this    takes 

hours  to  dry. 

The  various  brittle  yellow-coated  celluloid-covered  or  mechanically  grained 

and    dotted    German    and    Austrian    papers    should    be    avoided.      Any    kind    of 

unprepared    paper    may    be    drawn    upon    with    lithographic    chalk.      The    most 

reliable    surfaced    paper    is    known    as    Scotch    Transfer    Paper.       When    using 

unprepared    papers  the    artist    should    draw    on    the    same    paper    he    is    in    the 

habit  of  using. 

THE    PRINTING    PAPER. 

Every  artist  has  some  ideas  of  his  own  in  regard  to  the  paper  he  wishes 
his  lithographs  printed  on.  Either  it  should  be  old  Dutch  or  Italian  or  Van 
Gelder,  or  plate  paper,  or  papier  Ingres,  India  or  Japan.  A  perfect  method  of 
drawing  and  printing  would  be  that  the  artist  should  make  his  drawing,  for 
example,  on  a  sheet  of  uncoated  unprepared  papier  Ingres,  transfer  it  to  the 
stone,  and  print  it  upon  another  sheet  of  the  same  paper.  If  this  were 
properly  done,  it  should  be  impossible  to  distinguish  the  drawing  made  by 
the  artist  from  a  multiplication  of  it  made  by  the  printer.  And  this  has 
very  nearly  been  done  and  will  be  in  the  near  future.  The  choice  of  a 
paper  is  a  question  of  personal  liking,  provided  of  course  that  the  paper 
chosen  is  one  that  will  take  the  lithographic  ink.  If  not,  it  cannot  be  used. 
This  is  a  matter  of  experiment,  though  some  care  must  be  taken  in  ex- 
perimenting, for  certain  papers  stick  to  the  stone,  others  pull  all  the  ink 
off,  and  a  third  kind  refuse  to  absorb  any.  All  such  happenings  are  liable 
to  injure  the  drawing.     Avoid  papers  with  large  watermarks  ;  they  print. 

DAMPING   THE    PAPER. 

Most  papers  require  to  be  damped,  especially  if  they  are  sized.  But 
certain    others    can    be    used    dry.     The    damping    of   printing    paper    must    be 

■   If  transfer  paper  is  used,  it  is  only  necessary  to  damp  the  edges  of  the  piece  put  on  from  the 
back,  when  it  will  stick. 

266 


A.  S.  Hartrick  :   Betsey. 
Drawn  on  stone,  mostly  washed  with  turpentine  from  black  to  light,  finished  with  chalk. 


OF   PAPERS 

very  carefully  done  because,  even  more  than  in  the  pruning'  of  etchings,  if 
the  paper  is  too  wet  or  too  dry  it  will  either  not  take  the  colour  or  take 
too  much,  and  if  one  continues  to  print  with  paper  that  is  not  in  proper 
condition  the  drawing  will  be  quickly  ruined.  Every  printer  has  his  own 
way  of  damping-  paper,  and  so  has  every  artist.  Some  pass  the  paper  through 
a  bath  of  water,  a  sheet  at  a  time.  Some  immerse  a  large  quantity  in  a 
bath  at  once.  Others  take  it  out  immediately.  A  few  leave  it  overnight  in 
the  water.  Some  use  hot,  some  cold  water.  Once  it  is  wet  there  are  one 
or  two  things  to  remember.  It  is  just  as  well  first  to  wet  it  with  hot  water, 
then  to  lay  it  carefully  in  a  pile  upon  a  stone  or  plate.  Some  place  a  sheet 
of  dry  paper  between  each  two  damp  ones.  When  the  pile,  in  either  way, 
is  made,  a  smooth  board  is  placed  on  the  top,  or  a  sheet  of  zinc  or  glass, 
and  a  stone  upon  that,  and  the  pressure  should  be  gradually  increased.  It 
should  be  left  for  at  least  twenty-four  hours,  and  at  the  end  of  that  time  the 
weight  should  be  taken  off  and  the  paper  shifted  or  turned  over  ;  otherwise, 
either  the  edges  will  dry  or  the  paper  will  be  wrinkled.  In  either  case, 
impressions  will  be  poor.  It  is  just  as  well,  after  twenty-four  hours,  to  wet 
it  again  with  a  sponge.  The  degree  of  dampness  necessary,  however,  can 
only  be  learned  by  experience,  and  it  varies  with  every  sort  of  paper,  with 
the  time  of  year  and  the  temperature.  Good  printing  depends  on  two 
things  absolutely — good  ink  and  properly  damped  paper.  Without  these 
even  a  good  printer  can  get  no  good  proofs. 


/ 


269 


OF    PRESSES    AND 
OF     PRINTING 


CHAPTER    XIV 

WHILE    a    lithograph   may   be    printed  on  almost  any   sort    of   a 
press,  the  press  specially  devised  for  it  and  manufactured  to-day 
is,    for    many  reasons,    the    best.       In    the    beginning    Senefelder 
used    an     ordinary     copper-plate     press    before    he    and     others 
devised    presses    specially   for   printing  lithographs  ;    and    the   copper-plate  press 
will  transfer  and  print   a  lithograph   perfectly,   in  the  case   of  metal  plates  with- 
out    the    slightest    change,    addition,    or    alteration    in    its    working    parts,    for 
a  lithograph    on   a  metal   plate    can    be    treated    exactly    like    a    copper    plate. 
The   surface   print  comes   off  just  as   easily  as  an  incised   design   in   this    press. 
There   is  only   one  drawback,   which   is  that   the  lithographic  press  works  much 
faster  and  easier  than   the  copper-plate  press,    and    Senefelder  himself  says  this 
is    the    only  drawback.      For  artists   who  own  a  copper-plate  press  and  wish  to 
do   their  own  printing  there  is  no  difficulty  whatever.      The   blankets  and  the 
backing    are    arranged    exactly  as   for  copper-plate  printing,    the  only   difference 
being    in    the    method    of    inking.      A    stone,     however,     will    present    certain 
difficulties.      The  upper   cylinder   would   have    to  be    raised    sufficiently   to    take 
it,   and  in  many  presses  this  could  not  be  done,  and  even   if  it  were,    blocks  of 
wood    or    metal    would    have    to    be    placed   at    each    end    to    keep    the   cylinder 
from  falling  when  it  came  off  the  stone.       Ordinary  letterpress  presses,    Sene- 
felder   says,    could    be    advantageously    applied    to    lithography.       Any    sort    of 
press,    in   fact,    the    bed    of  which    works    under   some  sort  of  a    weight    which 
presses    upon     the    surface    of    the    stone    can    be    used.       But    after   years    of 
experimenting,    commenced    by   Senefelder,    a    special    press    for   printing   litho- 
graphs   has    been    evolved.       This    consists    of   a    bed    which,    like    that    of    a 
copper-plate    press,    travels    backwards    and    forwards.       On    this    the    stone    is 
placed  with  the  printing  paper  on  it.     This   is  covered  with   several   sheets  of 
backing  paper,  large  sheets  of  plate-paper — the  printer  usually  employs  spoiled 
proofs  ;  they  must  be  larger  than  the  print,  or  they  will  make  plate  marks  on  it 
— and  the  metal  tympan — a  frame  containing  a  thin  sheet  of  metal  or  leather — 
drops  upon  it.     As  the  bed  of  the  press  is  pushed  forward  by  a  wheel  or  crank, 
a  wooden  scraper  with  a  leather  edge  descends  upon  the    stone,  or  the  bed  of 
the  press  is  lifted,  and  it  scrapes  the  ink  off  the  drawing  on  to  the  paper.      When 
the  stone  has  passed  through  the  press  under  the  scraper,  it  is  released  and  the 
stone  comes  back  again  ready  to  be  again  inked.'     The  inking  is  done  on  the 
'   See  Introductory  Chapter  VIII   for  description  of  German  presses. 

270 


r 


M^ 


t.j  5*<* 


h^  i^^H-''"'^ 


^=^^!:^-...,.......^--*:;^^5^ 


Charles  Conder  :  Cabaret. 
Drawn  on  paper,  transferred  to  stone  by  C.  Goulding. 


OF  PRESSES  AND   OF  PRINTING 

press  without  removino-  the  stone  or  plate.  To-day  most  presses  work  by  steam, 
even  proving  presses,  and  in  these  the  bed  and  stone  on  it  return  automati- 
cally to  be  inked,  the  whole  being  done  by  the  mere  pulling  down  of  a 
handle,  which  brings  the  stone  or  plate  in  contact  with  the  scraper.  The 
adjustment  of  a  lithographic  press  for  proper  printing  is  very  much  simpler 
than  that  of  a  copper-plate  press.  It  is  also  m.uch  lighter,  though  not  so 
compact.  But  then  it  was  for  lightness,  cheapness  and  simplicity  that  Sene- 
felder,  and  other  lithographers,  were  working  in  order,  by  lithography,  to 
supersede  metal  and  wood  engraving.  The  printing  too  is  very  much  simpler, 
or  was  intended  to  be,  by  Senefelder.  The  printer  uses  an  ink  roller  covered 
with  leather,  and  fitted  with  handles.  It  is  several  inches  in  diameter  and 
the  whole  affair  about  a  foot  and  a  half  long.  It  is  all  made  in  one  piece, 
and  covers  for  the  hands  have  to  be  used  to  prevent  blisters  from  the 
revolving  handles.  The  roller  is  typical  of  the  unintelligent,  unexperimental 
methods  of  lithographers.  The  modern  etching  roller  revolves  on  bearings,  the 
handles  remain  stationary — no  lithographer  or  lithographic  material  maker 
has  had  the  sense  to  apply  this  method.  But  he  makes  something  out  ot 
the  hand  covers.  With  this  ink  roller  covered  with  leather,  and  fitted 
with  handles,  the  printer  endeavours  to  cover  the  whole  design  with  a 
flat  layer  of  ink,  depending  upon  the  strength  of  the  lines  to  take  the 
colour,  rather  than  on  any  appreciation  or  understanding  of  the  drawing.  A 
printer  not  infrequently  works  in  a  room  utterly  devoid  of  proper  light,  the 
stone  is  placed  upon  the  press  in  any  position  whatever,  and  his  whole  aim 
is  to  ink  up  the  drawing  perfectly  flatly  and  to  avoid  two  things  :  grey  spots 
which  come  from  insufficient  inking,  and  black  lines  across  the  design  made 
by  the  edge  of  the  roller.  It  is  true  that  old  printers  know  how  to  rub  more 
or  less  ink  on  to  a  drawing,  and  to  take  ink  off  the  design,  if  too  much  has 
got  on  to  it.  But  the  average  lithographic  printer  has  no  idea  of  inking 
so  as  to  produce,  or  aid,  or  support  the  artist's  design.  At  the  present  day, 
the  same  thing  is  true  of  etching,  and  in  both  cases  the  fault  is  that  of  the 
artist,  whose  endeavour  is  to  produce  an  etching  or  a  lithograph  which  may 
be  turned  over  to  the  printer,  who  will  turn  it  out  without  any  further  trouble 
to  himself;  the  artist  usually  does  not  go  to  the  printer's,  and  sometimes  does 
not  even  bother  to  pass  a  proof.  This  constitutes  the  highest  development 
of  modern  art  work  as  now  taught  by  most  modern  professors  of  etching  and 
lithography,  and  their  manner  of  teaching  is  the  reason,  at  least  one  of  the 
reasons,  that  lithography  and  etching  have  been  grabbed  by  commercial 
exploiters,  which  is  all  they  are,  whether  they  call  themselves  artists  or 
printers. 

The  artist  who  cares  at  all  for  his  work  either  sets  up  a  press  in  his 
studio,  getting  a  printer  to  help  him — if  his  work  is  of  any  considerable  size 
this    is   absolutely  necessary — or   goes    to    the   professional  printer's  and  stands 

2/3 


LITHOGRAPHY  AND   LITHOGRAPHERS 

beside  the  press  and  sees  every  proof  as  it  is  pulled.  Once  the  stone  is 
properly  adjusted  on  the  bed  and  the  pressure  secured,  the  printer,  having 
previously  seen  that  the  stone  is  so  placed  that  the  darkest  part  of  the  design 
or  the  most  sensitive  part  of  the  design  can  be  inked  first  and  with  least 
exertion,  inks  it  all  over  with  his  roller  and  pulls  a  proof.  He  will 
endeavour  usually  to  do  what  he  calls  "strip  the  stone,"  that  is,  remove  all 
the  ink  and  chalk  which  is  upon  its  surface.  To  do  this,  he  uses  a  dry 
sheet  of  tissue  paper,  and,  having  damped  the  stone  again,  places  the  paper 
upon  it  and  pulls  it  through  the  press,  and  by  stripping  it  takes  all  the 
bloom,  the  quality,  from  it.  The  tissue  paper  pulls  off  all  the  surface 
ink  or  chalk,  the  theory  being  that  the  grease  of  the  ink  or  chalk  having 
sunk  into  the  stone  or  plate,  is  quite  sufficient  to  print  from.  The  surface 
chalk  or  ink  will  come  off  after  a  few  ordinary  impressions,  on  to  the  proofs. 
But  meanwhile  it  is  being  forced  into  the  stone  or  plate  and  hard  sharp  lines 
are  being  toned  down,  and  a  bloom  is  coming  over  the  whole  drawincj.  This 
the  printer  does  not  want.  But  the  artist  does.  Besides,  if  the  chalk  is  pulled 
off  the  surface  of  the  stone,  it  makes  it  much  easier  to  ink  and  to  print,  as 
the  paper  does  not  stick  to  the  ink  or  design.  The  printer  should  not  be 
allowed  to  use  anything  except  the  paper  on  which  it  is  proposed  to  print 
the  edition.  For  the  sooner  the  stone  can  be  got  into  a  proper  printing 
condition — it  usually  takes  several  experimental  trial  proofs  to  do  this — the 
better.  The  early  proofs  of  a  lithograph,  unlike  those  from  a  copper-plate, 
are  not  usually  the  best.  There  is  this  radical  difference  between  copper-plate 
printing  and  lithography.  The  copper  plate  as  it  is  printed  grows  weaker, 
the  lithograph  becomes  stronger,  in  colour.  The  printer,  when  he  has  the 
stone  properly  and  rightly  rolled  up,  will,  if  not  stopped,  pour  some  turpentine 
■on  the  stone  and  wash  all  the  ink  and  apparently  the  entire  drawing  off  the 
stone — to  clean  it.  This  should  never  be  permitted,  as  it  removes  all  the 
bloom  from  the  drawing.  And  this  cleaning  with  turpentine  should  only  be 
resorted  to  in  cases  where  no  other  methods  of  cleaning  the  stone  avail.  The 
theory  is  that  the  grease  has  sunk  in  the  stone — which  is  a  fact — and  that  the 
ink  roller  will  bring  back  the  drawing — which  is  not  a  fact. 

When  the  artist  tells  the  printer  that  his  proof  is  fairly  right  all  over, 
it  is  his  business,  if  he  wishes  really  good  proofs,  to  point  out  to  the 
printer  where  it  should  be  increased  in  colour,  or  lessened.  According  to  the 
printer,  this  can  only  be  done  in  one  way,  that  is  by  painting  with  acid  over 
those  parts  he  wishes  lighter  and  so  reducing  them,  instead  of  which  he 
usually  bites  the  greys  into  black  spots.  And  to  increase  the  darks  the  printer 
uses  a  rag  dipped  in  ink  dissolved  in  turpentine,  and  with  it  smears  the 
parts  he  wishes  darker.  It  is  not  necessary  usually  to  do  either.  It  is, 
however,  far  simpler  and  quicker  for  the  printer  and,  in  case  of  failure,  the 
artist  is  at  once   blamed.      But    there  is    an  artistic    method  of  printing  artistic 

2/4 


Joseph  Pennell  :  The  Guard  Gate,  Gatun  Lock,  Panama  Canal. 
Drawn  on  paper  at  Gatun,  transferred  in  Philadelphia. 


OF   PRESSES  AND  OF    PRINTING 

lithographs.       In    the    first   place,    the    ink   is   the    most    important    factor.      The 
printer    will    endeavour    to    use    the    ink    that    works    the    most    easily,    which 
requires    the    least   muscle   and    the   least    time    to   get    a    print.     The    best   ink 
requires   an    expenditure   of    both    muscle    and    time.       Not    only   this.       As  the 
printer  continues  his  work,   it  is    almost  certain,   in  an   edition  of  twenty-five  or 
fifty    proofs,    that    he    will    have    repeatedly    to    strengthen    or    weaken    his    ink, 
cleaning  his  ink  slab  first  and  using  less  or  more  oil.      He  may  even  have  to  use 
two  different  sorts  of  ink  and  two  different  rollers  on  the  same  design,   though 
this   is   easy,    even   if  it   takes  a  third  roller   to   blend   them.     With   all   possible 
care    and  forethought,  the  drawing  may  become  too   strong  all    over  and  begin 
to    spread.     The    printer's    remedy   is    to    pour    turpentine    on    it    and    wash    it 
completely    off    the    surface    of    the    stone    or    plate.     This    washes    off  all    the 
tone    and    bloom    which    have    been   growing,    and    in    many  cases    they   never 
return,     as     has    been    stated    above.       But    there     is    another    way    of   getting 
rid     of   excess    colour,    and    that     is    not   to    put    so    much    ink    on,    when    the 
superfluous    ink    will    come    off  on    the    paper.       As    much    depends    upon    the 
paper    being    properly    damped,    as    on    the    intelligence    of    the    printer,    or   the 
excellence    of  the    ink.      The    aim    of    the    printer   of  lithographs    has,    during 
the    last   few    years,    been    to    reduce    them    to    a    dead    commercial    level,    and 
his    ideas   have   been    taken   up    by   etching   printers    also.      Etching  and    wash- 
ing   out     of    lithographs    during    printing    should    only    be     resorted     to     when 
everything    else     has     failed.       There    are     any    number    of    ways    of    reducing 
tones  or  strengthening  them  without  proceeding  to  such  a  suicidal  method.     If 
a  work  is  too  strong  in  some  part   and  a  rag  is  thinly  covered  with  powdered 
pumice-stone  and  lightly  brushed  over  that  part  and  it   is  then  washed  with  a 
damp    sponge,    the    work  will    be    reduced    at    once.      This    will    probably  have 
to  be   repeated   frequently   by   the  artist,   standing   by   the   printer,   but  no  artist 
who   cares  for   his   work  will   object  to  improving    his  design    if   he   can.      It   is 
easy  enough  by  this  means,  and  many  others,  including  etching,  and  especially 
by   the    use    of   mezzotint   scrapers    and    the   jumper,    to    reduce  work,    to    take 
out    blacks,  and   when    they  have  been    taken    out    the    stone  must    be   slightly 
etched,    but    very  quickly,    the    acid    being    removed    at    once    with    the   sponge 
and    the    part    corrected    touched   with  gum.       If   increased  strength  is  wanted, 
palm    oil   may   be    rubbed   on   a  piece   of  flannel  and    the  weak  passage   rubbed 
with    it,    and     then    etched    and    gummed  ;    or    it    may     be     cleaned,     and     ink 
dissolved  in  turpentine  and  applied  with  a  rag  rubbed  over  it,  and  then  etched 
and  gummed.      But  the  stone   is   usually  prepared,   that  is,   a  solution   of  acetic 
acid,  or  some  other  acid,  which  destroys  the  gum  on  the  stone,  is  washed  on  those 
parts   of  it  with  a  sponge  ;   because  while  the  gum  is  on  the  stone,  as  it  always 
is  more  or  less,  unless  washed  off  in  this  way,  the  chalk  or  ink  cannot  penetrate 
the  gummy  surface  but  lies  on   top  of  it,  and  if  it  is  not  washed  off,  in  damping 
the   stone    or  plate,   the   work   comes   off  as    soon   as   the   roller  is   passed  over 

277 


LITHOGRAPHY  AND  LITHOGRAPHERS 

it.  Therefore  the  acetic  acid,  known  as  "  Preparation,"  is  used  to  remove  the 
gum.  When  it  is  removed,  the  portion  may  be  drawn  upon,  etched,  and 
CTummed  up,  and  the  work  should  and  usually  does  remain.  The  harmonizing 
of  new  and  old  work  on  a  stone  or  plate  is  always  difficult  and  tedious,  and 
it  is  very  much  easier,  after  the  drawing  has  been  inked  all  over  and  damped 
and  is  ready  to  print,  for  the  artist,  without  preparing  it,  to  go  over  those 
portions  he  wants  strengthened  with  the  side  of  his  chalk,  which  adheres  to 
the  inked  lines  on  his  stone  and  frequently  produces  exactly  the  increased 
strength  he  seeks,  while  the  chalk  he  has  added  remains  on  the  stone  or  plate, 
which  must  not,  however,  be  either  further  damped  or  inked  before  printing. 
The  artist  must  be  warned  against  etching,  as  much  as  possible,  because,  if 
he  finds  a  portion  of  his  drawing  too  heavy,  and  applies  acid  to  that  part 
of  it,  before  it  is  again  inked,  the  lines  which  are  unprotected  by  ink  will  be 
a  great  deal  more  reduced  than  he  thinks,  or  they  may  disappear  altogether. 
And  if  he  waits,  as  the  printer  will  tell  him  to,  until  the  drawing  has  been 
again  inked,  the  part  which  was  already  too  strong,  by  the  addition  of  more 
ink,  will  become  considerably  stronger,  and  the  etching  it  down  to  the  required 
strength  is  a  very  difficult  operation,  especially  if  the  acid  spreads  at  all,  for 
light  streaks  and  spots  caused  by  the  acid  may  appear  anywhere  in  his  drawing, 
the  acid  having  run  about  on  the  stone  without  his  perceiving  it,  and  the 
slightest  suoTCTestion  of  acid  in  the  water  will  act  on  the  stone.  Another 
difficulty  is  that,  though  the  etching  may  have  produced  the  desired  result, 
there  is  no  evidence  of  it,  because  the  black  pigment  in  the  chalk,  or  ink 
on  the  stone  or  plate,  is  not  dissolved,  and  it  is  not  till  the  design  is  again 
inked  that  the  result  of  the  etching  becomes  visible.  The  drawing  upon  the 
stone  or  plate  in  lithography  is  most  deceptive.  It  is  not  the  black  pigment 
which  absorbs  or  repels  the  water  and  grease,  but  the  grease  itself,  and  if  it 
was  not  that  one  wanted  to  see  the  drawing,  a  perfectly  invisible  chalk  or  ink 
might  be  used,  provided  it  was  sufficiently  charged  with  grease.  A  proof  of 
this  is  the  astounding  return  of  a  drawing,  which  has  been  washed  off  the 
stone  with  turpentine,  and  become  invisible,  for  as  soon  as  it  is  rolled  up 
with  ink  it  again  becomes  visible — the  ink  adheres  to  the  grease  in  the  stone 
or  plate.  But  even  when  the  printer  and  the  artist  together  have  got  the 
stone  or  the  plate  into  what  they  consider  the  right  condition,  it  will  be 
found  that  only  with  the  utmost  difficulty  it  can  be  kept  there.  For  the 
least  bit  too  little  ink  will  make  it  a  washed-out  grey,  or  if  the  paper  is 
not  right  the  same  thing  will  happen,  or  if  there  is  too  much  ink  on  it, 
there  is  danger  of  its  running  together,  or  bunging  up,  and  when  this 
happens  the  drawing  is  usually  ruined.  Each  print  therefore  requires  in- 
creasing attention,  and  it  requires  the  printer  being  as  keen  on  getting  a 
good  proof  as  the  artist.  He  can  see,  it  is  true,  everything  before  him  on 
the  stone  or   plate,   but    to  get  the   drawing   to    come  off  on   the   paper,   as    it 

278 


D.    A.    W'EHKSCHMIDT  :    OLD    HaLL. 
Drawn  on  papei. 


OF   PRESSES   AND  OF    PRINTING 

looks  on  the  stone,  is  a  very  difficult  matter.  If  the  method  suggested 
previously,  of  drawing  and  printing  on  and  from  the  same  kind  of  paper, 
were  universally  practised,  more  certain  results  eventually  would  be  ob- 
tained. But  the  drawing  transferred  to  the  stone,  or  made  on  it,  always 
looks  darker  when  it  is  wet  on  the  stone,  or  the  plate,  than  on  the  paper, 
and  unless  the  drawing  is  put  upon  a  light  yellow  or  creamy  coloured  stone 
it  is  never  like  the  print.  The  grey  stones  beloved  of  lithographers,  and 
the  grey  zinc,  resemble  no  sort  of  paper  whatever,  and  not  infrequendy  the 
proofs  are  a  very  great  surprise  to  the  artist.  In  printing  a  lithograph 
the  colour  increases  as  it  is  printed,  so  the  longer  a  design  lasts  the  darker 
and  fuller  it  becomes  if  the  ink  is  good.  There  is  small  doubt  that  in  the 
future  artists  will  be — in  fact  they  are — able  to  print  tones  on  a  single  stone 
by  wiping,  as  in  etching.  This  is  yet  uncertain,  but,  generally  speaking,  a 
drawing  begins  to  make  a  tone  for  itself  as  it  prints — this  the  printer  washes 
off,  but  if  the  tone  is  allowed  to  remain  it  will  spread  all  over  the  stone  or 
plate,  and  when  right  it  can  be  reduced,  or  strengthened,  by  washing,  or  rubbing, 
where  wanted.  The  printer  thinks  all  such  methods  abominable  ;  the  artist 
delights  in  them. 

The  problem  of  colour  printing,  which  is  now  much  simplified,  is  worth 
separate  discussion.  Generally  it  is  to  be  observed,  that  whether  the  artist 
does  his  own  printing,  or  works  with  an  intelligent  printer,  the  best  results 
can  only  be  obtained  by  using  the  best  materials  and  the  greatest  care  ; 
though  everything  is  visible  both  to  the  artist  and  the  printer,  as  it  is  not  in 
etching  or  engraving,  it  is  infinitely  easier  to  ruin  a  lithograph  than  any 
form  of  eneravinCT.  All  ena-ravingrs  being  either  in  relief  or  intaglio,  the  ink 
has  far  more  hold  upon  them  and  their  lines  are  not  easily  destroyed.  In 
lithography  the  design,  being  produced  with  ink  upon  the  surface  of  the 
plate  or  stone,  can  be  damaged  far  more  easily  and  repaired  only  with  the 
greatest  difficulty.  But  a  lithograph  is  an  original  work  of  art,  the  multiplica- 
tion of  the  design.  Etchings  and  wood-engravings  are  reproductions,  but 
they  to-day,  and  not  lithographs,  are  much  more  prized  by  the  collector  and 
the  dealer.  In  the  immediate  future  lithography  will  be  ranked  with  etching 
and  wood-engraving,  and  the  methods  of  printing,  here  outlined,  will  be  practised, 
though  they  mostly  are  not  yet.  Endless  new  ways  of  printing  will  be  dis- 
covered, for  the  art  and  science  of  lithographic  printing  are  only  in  their 
infancv,  though  Senefelder  suggested  most  of  them. 


OF    CORRECTIONS   ON    STONE    OR    METAL. 

In  penwork  on  a  smooth  stone  the  part  to  be  corrected  is  merely 
scratched  out  and  then  put  in  again  and  washed  with  acid  and  gum.  But  in 
the  case  of  chalk  or  wash   drawings  on  grained  stones,   more  care   is   necessary, 

281 


LITHOGRAPHY  AND  LITHOGRAPHERS 

for  if  the  grain  is  destroyed  it  is  difficult  to  regrain  a  portion  of  it  so  as  to 
make  it  similar  to  the  oriijinal  grain  ;  it  can  be  done  bv  careful  reCTrainino- 
of  the  place,  but  it  is  difficult ;  if  the  drawing  is  washed  out  completely 
with  benzine  it  is  best ;  if  scratched  out  the  surface  of  the  stone  mav  be 
lowered  also,  and  it  will  then  hold  ink  and  print  black.  In  any  case  as 
little  correcting  should  be  done  as  possible  while  the  drawing  is  being  printed. 
Still,  in  the  worst  cases,  a  new  grain  can  be  added  with  sand.  It  is  perfectly 
easy  to  make  apparent  corrections,  and  to  make  the  whole  design  look 
right  on  the  stone  or  metal  ;  but  when  it  comes  to  be  inked  it  frequently 
rolls  up  and  the  print  looks  worse  than  before,  as  it  is  difficult  to  get  the 
same  grain  again.  The  grain  of  paper,  too,  is  always  different  from  the  grain 
of  stone.  It  is  generally  better  to  have  the  stone  grain  stronger  than  that  of 
the  paper,  so  that,  if  corrections  have  to  be  made  on  the  stone,  that  grain 
will  be   the  one   which   is   seen. 

There  is,  however,  one  period  in  the  work  when  corrections  can  be  made 
easily  and  also  when  they  usually  produce  the  effect  wanted — that  is  when  the 
drawing  on  the  stone  or  plate  has  been  rolled  up  with  ink  but  before  it  has 
been  etched,  though  the  gum  must  be  washed  off;  even  before  it  has  been 
gummed  is  better :  then  the  ink,  chalk,  or  wash  which  is  added  adheres  to 
the  new  work,  just  as  to  any  other  part  of  the  drawing.  But  in  any  case 
as  little  scratching  should  be  done  as  possible,  though  any  amount  of  work 
may  be  added.  But  etching  always  removes  the  chalk  or  ink  either  from 
the  tops  of  grains  or  between  them,  and  what  has  been  in  an  early  proof  a 
quiet,  but  slightly  too  dark  tone,  becomes,  after  etching,  a  mass  of  black  dots 
almost   impossible   to  get  rid  of 

The  artist  should  leave  his  corrections,  if  possible,  till  the  proof  is  dry, 
for  the  proof  when  first  printed  is  not  only  different  in  colour  from  the  stone, 
but  greyer  and  weaker  generally  than  it  will  appear  when  dry — or  it  may  be 
darker ;  therefore,  if  possible,  corrections  should  not  be  made  immediately  a 
proof  is  pulled,  though  there  is  a  great  temptation  to  do  so.  The  light  in 
most  printing  shops,  too,  is  bad,  and  the  artist  should  take  his  proofs  to  his 
studio  and  go  over  them   there   in  a  proper  light — which   is  a  side  light. 


282 


S|g-^i»!iy»aa«B>^- 


K.   Ernest  Jackson  :   Thk  ■•  Kube  de  Vki.oirs.' 
Drawn  on  stone,  printed  by  the  artist. 


OF    THE    DIFFERENT    MANNERS 
OF    LITHOGRAPHY 


CHAPTER  XV 

THE  TRANSFER  MANNER. 

SENEFELDER  said,  in  treating  of  this  manner:  "There  is  another 
manner  in  HthoL^raphy  where  the  drawing  or  writing  with  the  same 
unctuous  composition  is  made  on  paper  and  is  transferred  from 
thence  by  artificial  dissolution  to  the  stone  and  printed  from  it. 
This  manner  is  peculiar  to  the  chemical  printing,  and  I  am  strongly 
inclined  to  believe  is  the  principal  and  most  important  part  of  my  discovery. 
It  will  be  of  the  utmost  benefit  to  artists  by  enabling  them  to  oht-MW  facsiiiii/es 
of  their  drawinCTs."  He  further  savs  :  "  I  have  used  either  soft  or  hard  ink 
and  chalk,  and  the  paper  may  either  be  prepared  on  purpose  or  not.  The 
operation  of  transferring  may  be  effected  either  with  warm  or  cold  stones. 
The  writing  may  be  either  entirely  dissolved  or  only  in  part.  To  describe 
all  this,  however,  would  take  too  much  space." 

Though  he  says  this  is  the  most  important  part  of  his  discovery  and  of 
the  greatest  value  to  artists,  he  never  did  describe  it,  and  it  is  doubtful  if  he 
ever  meant  to.  He  only  described  the  ordinary  method  of  transferring,  the 
cause  of  the  invention  of  lithography,  the  method  practised  by  all  the  early 
men.  But  there  are  certain  statements  and  hints  and  suggestions  in  his  book 
which,  though  forgotten  or  ignored  for  nearly  a  century,  have  been  pieced 
together  and  put  into  practice  by  artists.  But  this  method  is  known  to 
scarcely  any  lithographers. 

This  other  method,  when  the  paper  is  not  prepared,  is  the  one  which  is 
of  the  greatest  interest  to  artists,  and  it  has  never  been  explained.  Now  it 
must  be  recollected  that,  from  the  very  invention  of  the  art,  the  lact  was 
recognized,  and  Hullmandel  and  others  state  most  distinctly  that  "a  litho- 
graphic impression  is  not  even  a  facsiiiiilc  of  the  work  of  an  artist  of  eminence, 
but  the  original  drawing  itself  and  this  is  a  feature  peculiar  to  lithography." 
And  it  is  incredible  that  this  wonderful  art  should  have  been  for  years 
abandoned  by  artists  and  prostituted  by  trade.  Hullmandel,  in  the  Preface 
to  his  same  Art  of  Draiving  on  Stone,  gives  one  reason  when  he  says  : 
"  Disasters  (in  lithography)  generally  attributed  by  the  disappointed  artist  to 
the  printer,  ought  in  most  instances  to  be  laid  at  his  own  door,  it  being 
premised  that  he  entrusted  his  drawing  to  a  good  printer.      The  greater  part 

285 


LITHOGRAPHY  AND   LITHOGRAPHERS 

of  these  failures  are  occasioned  either  by  the  draughtsman's  want  of  experience 
or  arise  from  his  not  attending  to  minute  precautions."  Duchatel's  advice  to 
the  artist  to  think  of  his  drawing  and  not  of  the  stone  or  the  paper  is  a  million 
times  better.  "  Artists  were  frightened  away  by  detail  and  mystery."  But 
the  detail  of  drawing  on  transfer  paper  has  never  been  put  down,  and  there 
is  no  mystery  ;    but  one  does  not  yet  know  a  perfect  method  of  transferring. 

Transferring  may  be  done  in  one  of  three  ways.  First,  the  transfer  may 
be  made  on  a  sheet  of  ordinary  drawing  paper,  and  this  put  upon  stone  or 
metal.  Secondly,  it  may  be  made  on  a  sheet  of  prepared  paper.  And  thirdly, 
and  most  important,  the  drawing  may  be  preserved  or  not,  that  is,  the  design 
may  leave  the  paper  altogether  and  adhere  to  the  stone,  or  it  may  only  leave 
the  paper  in  part.     The  papers  have  already  been  referred  to. 

The    method    of   transferring  when   the   drawing   leaves   the   paper   entirely 
and  adheres   to   the   stone   is   known   to   all   printers.      The  drawing   is   laid   face 
downwards   upon  a  board  and   the   back  thoroughly  wet   with   a   sponge  dipped 
in  either  warm  water,  water  and  gum,  water  and  acid,  or  turpentine.      Senefelder 
says  it  must  be  sponged  with  very  weak  aqua-fortis  until  it  is  thoroughly  wet, 
and  that  it  should  then  be  put  for  some  time  between  sheets  of  blotting  paper 
to  get  rid   of   the   superfluous  moisture,    though    this    is   not    usually  done.      He 
also   recommends   that  two  or  three  sheets  of  blotting    paper    and    a    piece    of 
taffeta  silk  should  be  used   instead  of  the  ordinary  backing  paper  on  the  press. 
As    soon    as    the    drawing    is    sufficiently  damped    to  lie    flat,  it    is    placed    face 
downward    upon  a    stone    in    the    press,  and  then    rapidly   run    through    several 
times.       On    the    tympan    and    the    backing    being   lifted,    the    paper,    with    the 
drawing    on    it,   should    be    found    adhering    tightly   to    the    stone.       It    is    again 
thoroughly  washed  with  clean  cold  water  and  again   several  times   run  through 
the   press.      After  this,    hot   water  is   poured    upon   it,  and  the    sheet  of  paper, 
after   a  few  minutes,    is    rubbed  all   over  with  the    thumb   and  finger.       If  the 
operation  has  been  properly  done,  the  sheet  of  paper  perfectly  clean  will  come 
awav  from  the  stone  and  the  drawing  will  be  found  to  have  adhered  to  it.      If  it 
does  not  come  away  easily,  more  hot  water  should  be  poured  on  it  and  the  paper 
allowed  to  soak.     Too  much  rubbing  may  spoil  the  drawing.     When  made  on 
prepared  paper  and  treated  in  the  same  way,  the  half-dissolved  composition  will  be 
seen  grey  or  white  on  top  of  the  drawing  on  the  stone.    The  composition  must  then 
be  very  carefully  washed  off  with  water.     If  the  paper  was  unprepared,  the  drawing- 
should    be    seen    sharply   on    the    stone.      If  it  was  done  on  a    prepared  paper, 
as  described  above,  the  composition  being  on  the  top  of  it,  which  has  left  the 
prepared  paper,  must  be  washed  off  with  the   greatest  of  care,  as  the  drawing 
has    not    yet    sunken    into  the   stone  and  it    is  easy  to  smear,   ruin,    or  wash  it 
off  entirely.      The    only    thing    which   has    happened    to   it    is,    that   it    is   auto- 
matically   reversed,    and    the    side    of  the    line   which  was  the  top  becomes  the 
bottom  and  adheres  to  the  stone.     If  properly   put  down,  there    should   be   no 

286 


Edouard  M^net  :   Portrait  de  Femme. 


OF   THE   DIFFERENT   MANNERS   OF   LITHOGRAPHY 

change  at  all,  except  that  it  is  reversed.  But,  unless  the  printer  or  artist  is 
very  skilful,  it  is  easy  to  ruin  the  drawing  by  the  paper  slipping,  doubling, 
stretching,  or  being  unevenly  wet. 

METHOD    OF    FIXING   AND    ROLLING    UP. 

Some  printers  at  once,  as  soon  as  the  drawing  is  on  the  stone,  dab  it 
lightly  with  a  sponge  charged  with  gum  and  water,  and  put  it  aside  for  a  day. 
Others  put  it  aside  at  once  without  gumming,  leaving  it  for  a  day  to  dry 
thoroughly  and  gum  it  the  next  day.  As  soon  as  the  gum  is  dry,  in  either 
case,  it  can  be  rolled  up,  as  explained  in  the  printing  chapter,  and  etched. 
The  further  treatment  is  exactly  the  same  as  with  a  drawing  on  stone.  There  is 
no  description  of  drawing  on  stone,  for  one  draws  on  stone  or  metals  as  on  paper. 

Senefelder's  method  is  quite  different.  Though  he  speaks  of  damping  or 
soaking  the  drawino-  first  with  weak  nitric  acid,  which  has  the  effect  of  etching 
it  immediately,  his  plan  of  then  using  sheets  of  blotting  paper  as  backing  and 
running  it  through  the  press  would  dry  it.  Then,  he  says,  a  weak  solution  of 
a  hundred  parts  of  water  to  one  of  aqua-fortis  should  be  poured  over  it.  Then 
it  should  be  washed  until  the  paper  is  disengaged,  and  if  the  work  seems  to 
adhere  thoroughly  the  solution  of  gum  may  be  applied  at  once.  And  he  refers 
to  the  fact  that  the  drawing  upon  the  stone,  even  though  it  is  now  supposed 
to  be  ready  for  printing,  frequently  looks  weak,  and  he  suggests  that,  to  correct 
this  weakness,  while  the  gum  is  still  on  the  stone,  the  printer  should  take  a 
small  piece  of  linen,  cotton,  or  flannel,  dip  it  in  printing  ink  until  it  is  thoroughly 
saturated,  then  rub  the  drawing  upon  the  stone  with  this  inky  rag,  and  it  will 
at  once  become  black.  This  method  is  well  known  to  printers,  but  it  is 
dangerous,  as  the  lines  may  easily  spread  or  smear.  Senefelder  also  speaks 
of  the  treatment  of  the  stone,  and  he  recommends  that  it  should  be  warmed 
a  little.  If  this  is  done  extreme  care  is  necessary,  even  more  so  in  the  case 
of  metal  plates,  as  the  warm  stone  or  plate  causes  the  paper  to  adhere  more 
strongly  to  the  stone,  and  unless  the  greatest  care  is  taken  the  drawing  will 
be  washed  off  along  with  the  paper  and  everything  lost.  After  this,  the 
treatment  of  all  drawings  on  the  stone  is  the  same.  So  little  did  Senefelder's 
contemporaries  want  to  explain  this  transfer  method,  which  they  knew  all 
about,  and  which  was  practised,  that  it  is  scarcely  referred  to  by  them, 
excepting  for  penwork,  and  they  never  really  do  explain  the  method,  or  only 
in  the  vaguest  terms  ;  with  them  mystery  began. 

TRANSFERRING    AND    PRESERVING    DRAWINGS. 

The  method  just  described  is  applicable  to  drawings  on  ordinary  paper 
or  on   prepared  paper.      But  the   following   method    has    never   been    described 

289  L 


LITHOGRAPHY   AND   LITHOGRAPHERS 

at  all,  though  Senefelder's  statement  that  the  drawing-  may  leave  the  paper 
"only  in  part"  proves  that  he  had  practised  it.  The  drawing  may  be  made 
with  chalk  or  ink  either  on  prepared  or  unprepared  paper,  it  makes  no 
difference  whatever.  The  dry  paper  with  the  drawing  on  it  is  laid  face 
downward  on  the  stone,  which  also  should  be  perfectly  dry.  A  sheet  of 
backing  paper  is  then  slightly  damped  with  a  sponge  dipped  in  weak  acid 
and  water.  The  dry  side  of  this  paper,  through  which  the  acid  will  slightly 
penetrate,  should  be  placed  over  the  drawing  on  the  press,  covered  with 
ordinary  backing,  and  under  great  pressure  run  through  the  press  as  rapidly 
as  possible  four  or  five  times.'  The  edge  of  the  drawing  may  then  be  lifted 
with  a  penknife,  and  the  artist  and  the  printer  will  be  able  to  see,  first, 
whether  the  paper  with  the  drawing  on  it  is  sticking  to  the  stone,  and  next, 
what  is  more  important,  whether  the  design  is  still  upon  the  paper  while  an 
offset  or  multiplication  of  it  appears  at  the  same  time  upon  the  face  of  the 
stone.  If  the  drawing  is  seen,  even  like  a  ghost,  on  the  stone,  the  paper, 
with  the  drawing  on  it,  should  be  carefully  removed.  If  not  there,  it  must 
be  run  through  again.  The  drawing  when  seen  upon  the  stone  will  be 
probably  weaker,  but,  if  it  is  there,  the  paper  should  be  removed  at  once, 
for  if  it  is  run  through  again  it  will  probably  commence  to  adhere  to  the 
stone,  or  the  lines  may  double.  Even  if  there  is  no  colour,  if  the  stone  is 
looked  at  sidewise  the  shadows  of  the  lines  in  colourless  grease  may  be  seen  on 
it.  Usually  the  paper  can  be  removed  with  care.  It  is  best  to  leave  it  on  the 
stone  for  a  day- — more  grease  will  be  absorbed  and  the  paper  can  be  lifted  more 
easily.  If  it  cannot,  if  it  sticks  so  tightly,  as  very  rarely  happens,  the  previous 
method  of  transferring  is  to  be  followed,  as  the  method  now  being-  described  is 
but  the  commencement  of  that.  But  if  the  drawing  on  the  paper  comes  away 
from  the  stone  as  it  should — it  may  have  to  be  carefully  lifted  off  with  a 
knife — the  design  will  be  seen  on  the  paper  and  on  the  stone  as  well,  in 
reverse.  What  has  occurred  is  that  some  of  the  grease  has  been  extracted 
from  the  drawing  on  the  paper,  and  attracted  to  the  stone,  to  which  it 
adheres  by  the  slight  dampness  of  the  paper.  All  the  colouring  matter, 
the  black  pigment,  remains  on  the  paper  and  most  of  the  grease.  The 
drawing  on  the  stone  is  now  to  be  rolled  up  and  etched  in  the  way  described 
above,  only  with  the  greatest  possible  care,  as  it  is  very  delicate.  It  will 
require  a  great  deal  more  rolling  up  and  much  more  time  and  trouble  than 
by  the  previous  method.  But  once  this  has  been  done  the  result  is  quite 
the  same,  and  if  the  drawing  on  the  stone  has  lost  or  gained  in  any  part,  the 
artist  has  his  version  on  the  paper  to  compare  it  with  and  to  correct  it  by, 
whereas,  in  the  first  case,  he  has  nothing  but  the  stone.  Another  inestimable 
advantage  is  that,  if  the  drawing  has  not  been  well  transferred,  or  if  it  becomes 

'   I  am  now  convinced  that  the  drawing  should  under  the  greatest  possible  pressure  only 
be  run  through  the  press  once. 

290 


FeLICIEN    ROPS  :    POKTKAIT   OF   ADELE    DuTTE. 


OF   THE   DIFFERENT   MANNERS   OF   LITHOGRAPHY 

smeared  or  under-  or  over-etched  and  so  spoiled,  or  if  the  stone  should  break  in 
printing,  the  drawing  may  be  put  down  a  second  time,  even  after  weeks  or 
months.  This  certainly  is  one  of  the  greatest  discoveries  in  lithography,  and  the 
ability  to  transfer  the  same  drawing  twice  and  yet  preserve  it  was  apparently 
not  known  to  Senefelder  at  all.  How  many  times  the  drawing  might  be  trans- 
ferred in  this  way  is  not  known  either.  But  the  advantages  to  be  obtained 
by  this  method  are  endless.  The  German  method  is  described  in  Chapter  VIII. 
With  the  decline  of  lithography  and  the  discontinuance  of  artists  to  prac- 
tise it,  the  artistic  use  of  transfer  paper  seems  virtually  to  have  ceased.  It 
was  only  used  for  commercial  purposes.  Scarcely  any  of  the  modern  text- 
books speak  of  it  at  all.  Scarcely  any  modern  lithographers  know  anything 
about  it,  and  it  is  only  within  the  last  few  years  that  its  use  has  been  revived. 
But  this  revival  has  made  artistic  lithography,  and  the  credit  for  reviving  this 
manner  is  due  to  Charles  G(julding. 

THE    TRACING    MANNER. 

The  aim  of  Senefelder  and  all  the  early  lithographers  was  to  supersede 
the  wood  and  metal  engraver.  Consequently,  long  and  elaborate  instructions 
are  given.  Most  of  them  are  of  little  value  to  artists,  but  they  may  be  briefly 
referred  to. 

If  a  sheet  of  very  thin  bank-note  paper  is  drawn  upon,  and  the  back  of 
it  rubbed  with  tallow  and  lamp-black — probably  stumping  chalk  would  do  just 
as  well — and  this  is  laid  upon  the  stone,  and  the  drawing  is  gone  over  again 
with  a  pencil,  or  if  a  drawing  is  made  with  a  pencil  on  a  sheet  of  blank 
paper  thus  prepared  on  the  back  and  laid  on  the  stone,  the  grease  will  come 
off  of  the  paper  and  adhere  to  the  stone,  which  then  may  be  etched  and 
gummed  up  in  the  usual  way.  Senefelder  carried  this  method  considerably 
further  and  practised  what  he  rightly  described  as 

THE  SOFT  GROUND  MANNER, 

which,  he  says,  is  "very  elegant."  The  face  of  a  smooth  polished  stone  is 
prepared  with  nitric  acid  and  gum,  or,  he  says  phosphoric  acid,  nutgall  and 
gum  is  better,  and  then  washed  with  water  and  left  to  dry.  When  dry,  it 
should  be  covered  with  a  thin  ground  of  tallow  by  means  of  a  roller.  Soft 
etching  ground  would  undoubtedly  do  just  as  well.  The  ground  must  then  be 
smoked  with  tapers,  as  an  etching  plate  is.  A  sheet  of  drawing  paper  should 
then  be  laid  on  the  face  of  the  stone  and  the  drawing  made  with  a  lead 
pencil.  When  the  paper  is  lifted,  the  tallow  will  come  away  where  the  pencil 
has  touched  it  and  the  design  on  the  stone  may  be  etched.  It  would  be  very 
much  easier  probably  to  practise  this  method  on  zinc. 

293 


OF     COLOUR 
LITHOGRAPHY 


CHAPTER    XVI 

SENEFELDER  also  invented  chromo-lithography,  and  he  says  he 
believes  that  by  his  method,  that  is  of  superimposed  colour,  "  oil 
and  water  colours  may  be  soon  perfectly  copied."  In  this  he  was  not 
successful,  and,  though  some  of  his  followers  have  made  most 
astonishing  copies,  these  have  no  more  value  as  works  of  art  than  the  work 
of  any  other  copyist.  And  though,  when  printed  on  canvas  or  an  imitation  of 
canvas,  they  are  highly  deceptive  for  a  moment,  it  is  but  a  matter  of  technical 
perfection  :  there  is  no  artistic  merit  about  them,  and  the  real  outcome  is  the 
chromo-lithograph  of  commerce,  which  did  an  enormous  amount  of  harm  to 
lithography.  The  artist,  however,  may  practise  colour  printing  with  as 
much  freedom  as  black  and  white.  The  method  to  be  followed  is  that 
of  the  Japanese  colour  printers,  only  it  is  far  simpler  and  more  direct  and 
nothing  like  so  laborious.  The  artist  makes  his  drawing  in  black  chalk  in 
the  ordinary  way  on  stone  or  paper.  From  this  drawing  a  number  of  offsets 
are  made  by  the  printer  in  some  sort  of  colour  or  ink  which  does  not  sink 
into  the  stone,  as  it  has  no  grease  in  it.  This  ink  while  wet  is  dusted  over 
with  red  chalk.  The  artist  has  now  to  determine  the  colours  he  is  going 
to  use,  or  rather  he  must  have  determined  the  number  before,  for  as  many  of 
these  offsets  are  made  as  there  are  to  be  colours  in  the  print.  He  takes  the 
stone  which  he  proposes,  for  example,  to  print  in  red,  and  goes  over  every 
line  he  wishes  to  print  red  with  his  black  lithographic  chalk.  He  gives  the 
stone  back  to  the  printer,  who,  by  washing  it,  removes  all  the  red  chalk  offset, 
and  only  those  lines  which  the  artist  has  gone  over  with  his  black  chalk 
remain  on  the  stone.  This,  then,  is  the  red  stone.  He  proceeds  to  do  the 
same  thing  with  all  the  other  colours  on  the  other  stones,  and  then  gums, 
rolls  up,  and  etches  them,  thus  producing  a  mosaic  picture  which,  if  put 
together  and  printed,  one  stone  after  the  other  and  the  black  as  well,  will, 
when  all  the  stones  are  printed,  produce  the  original  design — the  colour 
print  he  wants.  He  also  has  the  original  design  in  black,  which  may  be  printed 
either  in  that  colour  or  any  other  as  a  key-block,  or  not  used  at  all.  It  may 
be  printed  either  first  or  last.  This  depends  entirely  on  the  subject.  He 
should  then  mix,  himself,  a  quantity  of  the  colour  he  desires  for  each  stone, 
and  give  the  colours  so  mixed  to  the  printer,  who  will  ink  the  various  colour 
stones,  or    the    artist    may  do   it    himself.      If  he    follows    this    method,    exactly 

294 


.SKOTaaAJO  .3  .v/  ic  TiAJiTsiCJ  tuoT.iiMAH  aatJJaM  .1 


,^^*'^- 


OF     COLOUR 
LITHOGRAPHY 


<H AFTER    XVI 

SF'^'^''   ■  •. ,    and     he     sa) :.     'ir, 

■nposed    colour,     "  oil 
In  this  he  was  not 
'   I'  L'     made     most 
'    than    the  work 
■  ^litation  of 
•  ■    ,'  '     hnical 

,    .    --     nerit   at'     .    >.  the 

chromo  commerce,  which   did    an   enorni 

liih'  The    artist,     however,     may    practise     coKt  as 

ini.r  '.     iroedom    as    black     and    white.       The    method  loiiowed    is    that 

of  the  Japanese  culou:  j';:);..--;  ,  >'  It  is  far  simpler  and  more  direct  and 
nothing  like  so  laborious*^  "fff?i'''SfL&^'"i'AH'l-fi?'..v»ti{B.  gIadW^SK  '"  black  chalk  in 
the  ordinary  way  on  stone  or  paper.  From  this  dra\.  in^  a  number  of  offsets 
are  made  by  the  printer  in  some  sort  of  colour  or  ink  which  does  not  sink 
into  the  stone,  as  it  has  no  grease  in  it.  This  ink  while  wet  is  dusted  over 
with  red  chalk.  The  artist  has  now  to  determine  the  colours  he  is  going 
to  use,  or  rather  he  must  have  determined  the  number  before,  for  as  many  of 
these  offsets  are  made  as  there  are  to  be  colours  in  the  print.  He  takes  the 
stone  which  he  proposes,  for  example,  to  print  in  red,  and  goes  over  every 
line  he  wishes  to  print  red  with  his  black  lithographic  chalk.  He  Hv<-  the 
stone  back  to  the  printer,  who,  by  washing  it,  removes  all  the  n  offset, 

and    only  those    lines    which    the    artist    has    gimc    ov-  black    chalk 

remain  on  the  stone.     This,  ther  r  »ceeds  to  do  the 

'■■'  thing  with  all  the    other    coi^vir-.     m'    uu-    >'i,M.r     .k'mci,  and    then    gums, 
'\    and    etches    them,     thus    producing    a    mo.saic    picture    which,    if  put 
and    printed,   one   stone    after   the  other  and  the    black   as    well,  will, 
whe  stones    are    printed,     produce    the    original    design — the    colour 

print  he  w;i  N,o  has  the  original  design  in  black,  which  may  be  printed 

either  in  thai  ny  other  as  a  key-block,  or  not  used   at  all.     It  may 

be  printed  eitii..  mn  '.>r  last,  lliis  depends  entirely  on  the  subject.  He 
should  then  mix,  himself,  a  quantity  of  the  colour  he  desires  for  each  stone, 
and  give  the  colours  so  mixed  to  the  printer,  who  will  ink  the  various  colour 
stones,  or   the   artist    may  do   it   himself     If  he   follows   this   method,    exactly 

294 


"'■■:.  TU'v'^'""'""?    i     ■■.■■ 


,...iV. 


I, v>i;»^  •»"'»■•."*->'  '■t^- 


r 


\ 


t\ 


¥ 


-..-„,-;w,Mg^^^.^.^    .  fv'4.^;,x.,^.  :..,  v^**..,.*^^.rt«>^„.««r-'''-'^-«**~v--  ..  .:iJV 


fcu-jv,*^---.!  <■  '■»■.  .»,.w-'v*.«.-ti^i:' 


^, 


•  "^^ 


"sr!' Ji"  .-'T  iV 


•i'*.  ■ 


fvm'i' 


■■'vfci'  r 


.-l"^.."*. 


ilii 


OF  COLOUR  LITHOGRAPHY 

that  of  the  Japanese,  he  will  get  pure  rich  colour.  If  he  wishes  a  green, 
he  must  make  it  himself  and  not  trust,  as  the  chromo-lithographer  does,  to 
o-etting  that  green  by  printing  a  yellow  over  blue  or  a  blue  over  yellow. 
The  colour  should  be  made  right,  and  printed  on  the  white  or  coloured 
paper,  so  that  the  paper  shows  through  and  gives  a  luminous  brilliance  to 
the  print,  which  can  be  obtained  in  no  other  way,  and  is  utterly  lost  when 
colours  are  superimposed. 

Another  method,  though  a  much  more  tedious  one,  practised  by  Whistler 
in  his  colour  prints,  is  to  make  as  many  transfers  as  there  are  colours. 
Then  those  parts  of  the  drawing  that  are  not  wanted,  that  is  all  but  the 
red,  for  example,  must  be  scratched  or  etched  away,  and  the  same  for  the 
other  colours.  Afterwards,  the  method  of  printing  is  just  the  same.  And  a 
third  method  is  to  place  the  thinnest  tracing  paper  or  composition  over  the 
drawine  or  stone  and  draw  the  various  colours  in  black  chalk  on  different 
sheets  of  that — first  fixing  the  register  marks,  and  then  transferring  these 
colour  drawings   to   the  different   colour  stones. 

The  printing  of  colour  is  bv  no  means  easy.  In  the  ordinary  chromo- 
lithographic  fashion,  as  soon  as  a  colour  has  been  printed,  the  colour  on 
that  sheet  of  paper  is  allowed  to  dry.  This  means  that  the  paper  cannot 
usually  be  damped  again,  for,  if  it  has  been  damped,  then  printed  on  and 
dried,  if  damped  again  it  will  probably  get  out  of  register,  and  if  each 
colour  is  allowed  to  dry  before  the  next  is  applied,  it  is  very  difficult  to 
get  over  an  effect  of  hardness  whether  the  paper  is  damped  or  not.  The 
perfect  way  of  printing  in  colour  would  be  to  have  as  many  presses  as 
there  are  colour  stones  and  shift  the  print  from  one  to  the  other  as  fast 
as  each  colour  is  added.  The  difficulty  of  this  is  that,  even  with  this 
mosaic  method,  if  the  drawing  is  at  all  complicated  it  is  impossible  to  ink 
it  without  rubbing  one  colour  into  another,  and  still  more  impossible  to 
print  it,  as  the  moist  colour  from  the  sheet  of  paper  sets  off  upon  the 
stone  and  would,  after  a  few  impressions,  produce  nothing  but  a  smear. 
There  are  ways  of  using  three  or  four  colours  at  the  same  time,  on 
two  stones  and  by  means  of  tinted  paper  getting  a  still  further  colour.  If, 
for  example,  the  artist  wishes  to  make  a  print  on  blue  paper  a  nocturne  in 
four  colours,  he  must  first  of  all  think  out  very  carefully  the  colour  design 
and  the  spacing  and  arrangement  of  the  colours.  He  may  then,  with  his  sheet 
of  blue  paper  properly  damped,  print  first  his  white  lights  or  yellow  lights  or 
red  ones,  or  rather  all  three  of  them  together,  by  using  three  rollers,  one 
charged  with  white,  the  second  with  yellow,  the  third  with  red  ink.  If  the 
print  is  then  shifted  to  another  press  alongside,  the  second  printer  may  roll 
the  main  part  of  the  design  up,  first  in  weak  transparent  blue  through  which 
the  white,  yellow,  or  red,  which  must  be  made  of  very  opaque  colour,  will 
show,    and    then,   with   another  roller,   go  over  those  parts  which   are  intended 

T    * 

297  L 


LITHOGRAPHY  AND   LITHOGRAPHERS 

to  be  stronger  with  a  stronger  blue  or  black  before  pulling  the  print. 
When  pulled,  the  print  will  look  as  if  it  had  been  printed  six  times,  and 
in  drying,  the  colours,  as  in  a  painting,  will  all  dry  in  together  and  there 
will  be  a  skin  over  it  all,  which  can  be  obtained  in  no  other  way.  There 
are  many  other  ways  of  making  colour  prints,  but  this,  which  is  only  a 
variation  of  the  Japanese  method,  is  the  simplest  and  the  best  and  one 
which  the  artist  can  and  should  use.  Another  charming  way  of  introducing 
colour  at  times,  similar  to  that  of  the  copper-plate  colour  printers,  may  be 
got  from  one  single  stone  by  mixing  up  the  various  colours  and  putting 
them  on  with  small  rollers,  stumps,  or  rags,  or  putting  just  a  bloom  or  blush 
of  colour  over  some  part  of  the  drawing  with  a  rag.  Colour  printing,  however, 
is  only  just,  owing  to  Whistler  and  the  Japanese,  beginning  to  be  practised 
by  artists.  Far  the  greater  number  of  artists,  and  especially  those  who  are 
supposed  to  make  posters  and  do  other  colour  work,  know  nothing  about  it. 
The  drawings  of  these  men  are  usually  made  in  oil,  water-colour,  or  pastel, 
handed  over  to  professional  lithographers  who  copy  them,  enlarging  or  reducing 
them  mechanically,  and  the  artist  calmly  signs  the  poster  he  had  nothing 
to  do  with  making :  that  is,  when  he  is  allowed  to  sign  it,  for  sometimes 
the  printers  take  all  the  credit.  By  the  method  described  above  any 
artist  can  do  colour  work.  A  practical  example  is  in  the  posters  done 
in  this  way  for  the  London  Underground  Railways,  in  the  spring  of  191 4, 
by  certain  members  of  the  Senefelder  Club,  only  one  or  two  of  whom 
had  ever  drawn  a  poster  before,  but  they  were  artists  who  understood 
lithography. 


298 


Henri  de  Groux  :  La  Vigne  Abandonne. 


OF    THE    WASH 
MANNER 


CHAPTER    XVH 

SENEFELDER  describes  Wash  Drawing  as  India  Ink  Drawing,  though 
the  first  method  he  describes  has  nothing  apparently  to  do  with  wash  or 
India  Ink  either,  but  is  similar  to  what  he  calls  the  Tint  Manner,  in 
which  a  flat  ground  composed  of  either  a  thin  layer  of  grease  or  etching 
ground  is  put  on  the  plate  and  the  design  is  scratched  out  with  a  mezzotint 
scraper  and  points.  It  is  then  bitten  with  phosphoric  acid  and  washed  with 
gum  water.  If  the  stone  is  now  washed  with  turpentine,  the  grease  or  ground 
will  come  off  and  the  drawing  scratched  in  the  stone  may  be  printed.  This 
is  not  in  any  sense  a  wash  drawing,  however. 

What  Senefelder  calls  the  second  manner  is  the  genuine  manner  of  making 
wash  drawings.  He  says  the  stone  must  be  prepared  with  a  coarse  grain, 
thoroughly  washed  with  soap  and  water,  cleaned  with  turpentine,  and  left  to  dry. 
Then,  if  ink  containing  much  soap  is  dissolved  in  rain  water,  the  design  may 
be  made  on  the  stone  in  wash  exactly  as  it  would  be  done  on  paper.  When 
it  is  finished  and  dry,  the  whole  surface  can  be  rubbed  with  a  brush  or  cloth 
to  make  sniall  holes  in  the  colour,  really  to  let  the  grain  on  the  stone  come 
through.  It  should  then  be  bitten  with  acid  and  washed  with  gum  water 
in  the  usual  manner.  As  these  wash  drawings  are  very  delicate,  very  weak 
acid  must  be  used,  and  Senefelder  recommends  that  the  stone  should  be 
surrounded  by  a  border  of  wax  or  by  rubber  bands,  which  are  better  and 
simpler,  though  most  likely  if  the  acid  was  applied  with  a  brush  the  result 
would  be  truer.  His  reason  for  using  a  bath  is  that  the  ground  is  so 
sensitive  that  he  thought  it  not  possible,  except  by  changing  the  acid,  to 
get  rid  of  the  bubbles  made  by  the  acid,  which  adhere  to  the  stone  and 
prevent  it  biting.  He  also  says  that  frequently  the  washes  will  be  found  to 
be  too  light  owing  to  many  holes  being  bitten  in  the  stone.  The  experience 
of  most  modern  artists  is  that  the  washes  are  too  black  and  have  to  be 
scraped  down.  He  explains  that  by  this  method  prints  may  be  made  by 
rubbing  in  the  ink  with  a  rag.  He  points  out  that  by  putting  on  a  flat 
wash  of  colour  and  biting  it  in  this  manner  tint  plates  may  be  made  for 
chalk  drawings,  and  he  concludes  by  saying  that  this  manner  "deserves  to 
be  more  known  and  practised  by  artists  than  it  has  hitherto  been." 

This  manner,  despite  his  experiments,  does  not  seem  to  have  been 
practised    to    any    great    extent    by    Senefelder,    but    was    by    Hullmandel,    and. 


LITHOGRAPHY  AND   LITHOGRAPHERS 

moreover,  patented  by  him.  He  used  a  dabber  for  applying  the  colour  and 
the  artists  who  practised  it,  like  Harding,  acquired  the  greatest  skill  in  its 
use.  Whether  Cattermole  used  this  method,  or  pure  wash,  it  would  be 
difficult  to  say.  Some  of  the  most  perfect  lithographs  technically,  like 
those  of  Isabey,  look,  as  they  were  intended  to,  like  wash  drawings.  But 
if  they  are  closely  examined  with  a  magnifying  glass,  they  will  be  found 
to  have  been  done  with  chalk.  Undoubtedly  Raffet  and  Charlet  did  make  pure 
wash  drawings  in  lithographic  ink,  and  in  England,  Whistler,  with  the  help  of 
Way,  revived  or  rather  developed  this  method.  Lithographic  ink  is  ground 
down  in  a  heated  saucer,  or,  better,  two  or  three,  for  different  tones.  It  is 
mi.xed  with  distilled  water  and  used  just  like  a  water  colour.  Duchatel  says 
turpentine  is  better  as  a  medium,  but  there  is  no  fixed  rule  or  method.  This 
wash  manner  is  difficult  to  work  for  two  reasons.  First,  as  soon  as  the 
colour  touches  it,  the  stone  becomes  very  much  darker,  though  there  is  no 
more  difficulty  about  this  than  there  is  about  body-colour  drawing.  And  the 
second  difficulty  is  that  each  tone  must  be  right,  as  it  is  very  difficult  to  go 
over  a  wash  already  put  down  with  another  without  disturbing  the  first.  This, 
however,  is  also  true  of  many  watercolours.  In  fact,  a  wash  drawing  on  stone 
is  very  like  a  drawing  in  charcoal  grey  watercolour  on  paper.  Both  are 
equally  difficult  to  work  over  and  correct.  It  was  thought  until  lately  that 
this  method  was  peculiar  to  the  stone,  but  T.  R.  Way  found  that  drawings 
could  be  made  on  paper  equally  well  and  transferred.'  When  once  upon  the 
stone  and  the  ink  is  thoroughly  dry,  the  surface  of  the  stone  must  be 
rubbed  with  a  cloth  or  flannel  in  order  to  break  up  the  tones  of  colour 
and  leave  the  tops  of  the  grains  showing  through  it.  If  this  is  not  done 
the  drawing  will  print  perfectly  black  or  in  a  flat  tone  all  over.  The  stone 
is  then  treated  in  the  ordinary  way.  If  too  dark,  as  usually  is  the  case,  the 
drawing  being  on  a  grained  stone,  it  may  easily  be  scraped  with  a  penknife, 
or  scraper,  the  jumper,  or  etched.  Chalk  and  pen  work  can  be  done  either  at 
the  same  time,  or  over  the  wash,  or  before  the  wash  is  put  on.  But,  like 
mezzotinting,  it  is  by  no  means  so  simple  as  it  looks,  and,  though  many  of  the 
wash  drawings  look  direct  and  spontaneous,  in  most  cases  those  qualities  are 
obtained  only  by  very  elaborate  work.  This  is  one  of  the  methods  in  litho- 
graphy that  should  again  be  revived  and  practised,  as  most  beautiful  results 
can  be  obtained,  though,  at  present,  comparatively  little  has  been  done 
with    it. 

OTHER    MANNERS. 

Senefelder  and  other  authorities,  especially  the  earlier  writers,  describe 
numerous  methods  for  doing  away  with  etching  and  engraving ;  but  these 
are    not    the    functions    of  artist  lithographers.      If  any  one   wishes    to    practise 

'  And  this  is  also  done  in  Germany. 

502 


E.    CaKKILKL  :    WuMAN  a    UliAD. 


OF  THE  WASH   MANNER 

them  the  directions  are  all  in  Senefelder.  In  the  later  manuals,  such  as  Rich- 
mond's Grammar  of  Lithography,  the  commercial  and  mechanical  methods  are 
described,  as  well  as  the  use  of  steam  cylinder  presses  and  photo-lithography. 

STUMP    MANNER. 

Ordinary  stumping,  rubbing  the  stump  in  lithographic  chalk  {crayon  estompe), 
is  little  used  in  England,  but  the  results  obtained  are  delightful.  Rags,  flannel, 
or  skins  may  be  also  employed.  The  drawing  on  stone  made  in  this  way  is 
very  deceptive — it  at  first  prints  very  lightly — and  it  should  be  slowly  coa.xed 
by  pulling  repeated  proofs,  which  usually  grow  stronger,  and  then  suddenly  it 
becomes  very  black.  The  etching,  too,  is  difficult,  as  not  infrequently  the  acid 
removes  all  the  stump  effect  in  a  moment. 

TINT    MANNER. 

Tints  may  be  made  either  by  covering  the  stone  or  paper  with  a  flat  tone 
of  chalk,  by  rolling  or  washing  ink  on  them.  The  e.xact  size  of  the  tint  is 
fixed,  and  the  rest  of  the  stone  is  painted  over  with  gum  and  acid — stopped 
out.  When  dry  it  is  inked — the  ink  adheres  to  the  ungummed  portion.  It 
is  then  rolled  up  with  ink  of  the  desired  colour  for  the  tint  and  printed  over 
the  drawing.  If  lio-hts  are  wanted,  a  set-off  must  be  made  on  the  tint  and 
lights  may  be  scratched,  or  the  tone  lighted,  using  the  set-off  as  a  guide  ;  if 
these  parts  are  then  gummed  and  etched,  after  strong  inking  the  lights  will 
print. 

CONCLUSION. 

In  the  preceding  pages  most,  if  not  all,  of  the  manners  the  artist  will 
practise,  and  the  tools  and  materials  he  will  use,  are  described.  He  will 
find  new  and  endless  methods  of  employing  them,  for  for  fifty  years  scarcely 
any  experimenting  has  been  done,  and  the  opportunities  are  ine.xhaustible 
and  untried.  By  the  time  he  has  practised  all  these  methods,  or  those  he 
invents,  if  he  is  an  artist,  he  may  make  a  series  of  masterpieces,  and  then 
may  he  repeat  and  echo  the  words  with  which  Senefelder  ended  his  story 
in  The  Complete  Course  of  Lithography :  "  May  the  day  be  blessed  when 
I  created  it.  May  my  work  find  many  friends  and  produce  many  excellent 
lithographers." 


305 


OF    PROOFS    AND 
EDITIONS 


CHAPTER    XVIII 

ONE  unjust  allegation  that  has  been  made  against  lithography,  and 
has  injured  it,  is  that  unlimited  editions — it  is  said — can  be  printed 
from  stone.  So  they  can  from  copper,  only  in  neither  case  do 
artists  do  such  things.  A  copper  plate  may  be  steeled,  or  electro- 
typed,  and  endless  prints  may  be  made — and  endless  prints  may  be  made  by 
transferrino-  a  desion  to  several   stones. 

But  the  artist,  in  the  case  of  etchings,  can  rarely  print  more  than  one 
hundred  proofs  from  an  unprotected  plate,  and  no  more  can  be  made,  or 
should  be  made,  from  the  stone.  The  Senefelder  Club  has  limited  its  editions 
to  fifty — and  then  erased  the  drawing.  The  professional  commercial  lithographer 
nearly  killed  the  art — as  an  art — but  there  are  now  all  about  us  signs  and  proofs 
of  the  revival  of  the  most  autographic  of  the  graphic  arts,  and  its  future  is 
secure — it  has  triumphed  in  the  hands  of  artists  who  have  returned  to  it,  as 
innovators  and  experimenters  and  enthusiasts,  and  now  can  Senefelder  truly 
sav  of  his  beloved  art  and  craft,  "Blessed  be  the  hour  in  which  I   invented  it." 


306 


l;M 


mm? 


I   -        %■■ 


^}(-S5J^ 


vi"'"- 


^*s 


^^\.  i 


A.  WiLLETTE  :  Fortune. 
Printed  by  Lemevcier. 


INDEX 


INDEX 


Abbey,  E.  A.,  Artist 

Abridgement  of  Patents 89 

Academie  des  Beaux-Arts,  Paris    ...       41 
Academy  of  Science,  Munich        .         .  10,  1 1 

Ackermann,  R.,  Printer  .     6,  18,  25,  26, 

89,  97,  98,  loi,  102 

Adam,  Victor,  Artist 61 

Advertiser  for  Arts  and  Manufactures  {See 
Anzeiger  fiir  Kiinst  und  Gewerb- 
fleiss). 

Aglio,  A.,  Artist loi 

Aiken,  Artist 106 

Albemarle,  The 133 

Album  du  Salon       .         .         .         .         .         .81 

Album,  Journal  des  Arts,  de  laLiticrature,  des 

Mci-urs  et  des  Theatres,  L  .        .        .       70 
Album  of  the  Artists  of  Vienna      .         .         .     201 

Artists  who  contributed  to  .  .  .201 
Albums,  Lithographic  .....  53 
Alexandre,  Arsene,  Author     ....     177 

Algraphie 206 

Allan,  R.  W .     121 

Allen  and  Ferguson,  Printers         .         .         .121 

Alophe,  Menut,  Artist 81 

American  Art  Review,  The       .        .         .        .221 

American  Lithographic  Co.,  Printers    .         .     225 

Analectic  Magazine,  The  ....     217 

Andre,  Frederick,  Printer      .         .         -17)  18,  37 

Andre,  Philip,  Printer    .         .  17,  18,  89,  90,  93,  94 

Andre,  Philip  H.  {See  Philip  Andre). 

Anger,  Papermaker 

Annates  des  Arts  et  Manufactures 

Annual  Register 

Anquetin,  Artist 

Antiquities  of  Westminster,  The 

Anzeiger  fiir  Kunsi  und  Gewerbfleiss 

SchlichtegroU's  Papers  in 
"  Ape,"  Artist .... 
Aranjo,  Artist 
Arenberg,  Prince  d' 

Aretin,  Baron,  Printer    .         .  21,  2 

Art  du  Rire  et  de  la  Caricature, 
Art  en  Province,  L  . 
Art  Journal,  The    . 
Art  of  Drawing  on  Stone,  The. 
Art  Worker's  Guild,  Lecture  at 

Portfolio  made  at 
Arte  en  Espaila,  El . 
Artiste,  V        .      70,  77,  78,  81,  118,  134,  193, 


241 

39 
89 

174 
129 

25 

25 
137 
210 
202 
189 
177 
78,  81 
134 

94 
'33 
133 
210 


PAGE  PAGE 

i37i  153  Artistes  Ancicns  et  Modernes  ....  82 
89  Artistes  Conteniporains  .....  82 
Arts  and  Crafts,  Central  School  of  .  .  xii 
Arts,  Royal  Society  of  .  .  xii,  25,  89,  94,  97 
Arundel  Society,  The  .....  106 
Atthalin,  Baron,  Amateur       ...         45,  54 

Aubert,  Publisher 66,  81 

Aubry-Lecomte,  Artist  .  .  54.  81 

Audebert,  P.  A.,  Artist 169 

Audubon 106,  221 

AiisK'ahl    der    vorziiglichsten     Gemlilde     dcr 
herzoglichen  Letichtenbergischen  Ge- 
mlilde Galerie,  etc.     . 
Auto-lithograph      .... 

Azeglio,  d' 

Baedeker's  Guides  .... 
Bahuet,  Artist          .... 
Ballantyne  and  Robertson,  Printers 
Baltard,  Engraver  .... 
Balzac,  H.  de.  Author    . 
Bankes,  H.,  Author 
Bargue,  Charles,  Artist  . 
Barker,  A.  R 

The  Theatre      .... 
Barker,  T.,  Artist    .... 
Barnard,  G.,  Artist 
Barnett  and  Doolittle,  Printers 
Barriere,  Printer    .... 

Picturesque  Views  of  Belgium    . 
Barr}-,  James,  Artist 
Barye,  A.  L.,  Artist 
Bath  Stone      ..... 
Bauer,  M.  A.  J.,  Artist    . 

The  Sphinx        .... 
Baugninet,  C,  Artist 
Beardsley,  Aubrey,  Artist 
Beauger,  Publisher 
Becker,  H 

The  Mower        .... 
Beckwith,  J.  C,  Artist    . 
Belfond,  E.,  Printer 
Beliard,  Printer       .... 
Bellange,  H.,  Artist 
Belleroche,  Artist  .... 
Beraldi,  Henri,  Author  . 
Berangcr         .... 
Beraud,  Jean,  Artist 
Bergeret,  Artist 

His    Drawing    of    Mercury 
202,  210  French   Lithograph 


190 

134 
213 
242 
169 

93 
46 

73 
94 


251 

90 

114 

217 

202 

202 

90 

70 

101 

206 

211 

117 

201 

81 

157 

259 


166,  173 

74 
61 

157.  178 
57)  66.  77.  165,  209 
61,  81 

•     173 

27,37 
first 

27 


the 


509 


INDEX 


PAGE 

Berry,  Duchesse  de,  Amateur 

•       45 

Besnard,  P.  A.,  Artist     . 

.     178 

Bewick,  Thomas,  Artist 

•  5.93 

Bichebois,  L.  P.  A.,  Artist      . 

•      57 

Bien,  Julius,  Printer 

221,  225 

Billoin,  Artist. 

•    20s 

Birds  of  Amcrjca,  Audubon's 

.     106 

Birds  of  the  World,  John  Gould's 

.     106 

Blake,  William,  Artist     . 

[o,  91,  93 

Polyaiitograpli  . 

•       91 

Blanchard,  R.,  Artist      . 

57,  8i,  2IO 

Blanche,  J.  E.,  Artist     . 

.     178 

Blanco,  Artist 

•     213 

Blare,  E.,  Artist      . 

97 

Bocklin,  Artist 

.     201 

Bodmer,  Karl,  Artist 

•     214 

Boilly,  L.,  Artist     . 

26,  65 

Bonington,  R.  P.,  Artist 

31.  57. 

58, 

105 

no,  113 

Petite  Nonnandie     . 

•     "3 

Gros-Horloge  a  Rouen 

31.  57 

Viies  Pittoresques  en  Ecosse 

■     113 

Gros-Horloge,  Evreux 

•     113 

Work  for  Baron  Taylor  . 

■      57 

Bosio,  J.  F.,  Artist  . 

■       6s 

Bouchot,  H.,  Author 

■       6s 

Boulanger,  Louis,  Artist 

66,  67,  6q,  70 

Ronde  dit  Sabbat 

66,  67 

Bourgeois,  C,  Artist 

42,54 

Boys,  T.  S.,  Artist  . 

57.  no 

114,  117 

Views  of  Paris  . 

.     114 

Bracquemond,  Felix,  Artist   . 

163,  170 

Brangwyn,  F.          .         .         . 

•     157 

The  Docks 

•     247 

Bregeaut,  L.  R.,  Printer 

45.53 

Bricher,  A.  T.,  Artist      . 

.     221 

Britannia  Dctiiieaia 

.     102 

British  Museum,  Print  Room 

93 

141,  209 

Brooks,  Vincent,  Printer 

■     137 

Brown,  Ford  Madox,  Artist   . 

•     129 

Brown,  J.  G.,  Artist 

.     222 

Brown,  John  Lewis,  Artist 

•     173 

Bruci,  Printer 

46,  209 

Bry,  A.,  Printer 

53.62 

Buffa,  Publisher     . 

•     205 

Buhot,  Felix,  Artist 

.     181 

Buonaparte,  Napoleon  [Sec  Napol 

eon  I.) 

Burggraaf,  Publisher 

.     202 

Burty,  P.,  Author   . 

.       82 

Cadart     and     Chevalier,     Publis 

hers 

ind 

Printers     . 

■     165 

Calame,  Alexandre,  Artist 

•     214 

Carbonnier,  C,  Artist     . 

loi,  102 

Carderera,  Valentin,  Artist  and  ± 

Author 

209,  210 

Caricature,  La         ... 

.      70, 

73.  74.  81 

Carrick,  Robert,  Artist   . 

114,  121 

Turner's  Vessel  Burning  Bhu 

Lights 

at 

Sea    .... 

.     121 

178,  ig8,  206 
•    3"3 


Carriere,  E.,  Artist . 

Woman's  Head 

Cassajus,  V.  M.,  Printer  .... 

Cassatt,  Mary,  Artist 

Catalogue  of  Centenary  Exhibition  in  Paris. 
Catalogue  of  the  Exhibition  at  the  Ecole  des 
Beaux  Arts  ..... 
Catalogue  of  Fantin-Latour's  Lithographs, 
Germain  Hediard's  .... 
Catalogue  of  the  Grolier  Club  Exhibition 

206, 
Catalogue  of  Whistler's  Lithographs,  T.  R. 

Way's        .         .       130,  133,  141,  146, 
Catalogues  of  Norwich  Art  Circle. 

Catlin,  Artist 

Cattermole,  George,  Artist     .         .      114,  214 

A  Dcath-Btow  .... 
Cawdor,  Lord,  Amateur 
Challamel,  P.  J.,  .Artist  and  Publisher 
Chalon,  J.  J.,  Artist 

Chapuis,  Dr 

Chapuy,  N.  M.  J.,  Artist 

Cliarivari,  Le  .         .         .       70,  73,  74,  81,  118, 

Charles  X 

Charles  Theodore,  Elector  of  Bavaria 
Charlet,  N.  T.,  Artist      .      26,  53,  54,  61,  70, 

105,  109.  21; 

Albums 

Tireurs  de  la  Compagnie  Infcrnalc 

Croquis  a  la  Maniire  Noire 
Charpentier,  F.,  Artist    . 
Chasseriau,  Theodore,  Artist . 
Chauvel,  T.,  Artist .... 
Chavannes,  P.  Puvis  de,  Artist 
Cheney,  J.,  Engraver 
Cheret,  Jules,  Artist        .         . 
Chevallier,  J.  B.  A.  (and  Langlume),  Printers 
Choris,  Louis,  Artist 
Chromo-Lithography     .  46,  54,  122 
Ciceri,  Eugene,  Artist     . 
Claus,  E.,  Artist      .... 
Clausen,  George,  Artist  . 
Coindet,  Printer     .... 

Cole,  J.  F.,  Artist 

Cole,  Thomas 

CoUeccion  lithographica  de  cuadros  del  Rey  de 
Espana,  etc.  [See  the  Prado  Gallery) 
Colnaghi,  P.  and  D.,  Publishers    .      109,  113, 
Cologne,  Work  Exhibition     .         .         .       xii, 
Complete  Course  of  Lithography,  A  .    xi,  9,  25, 

26,  89,  97,  234; 
Conder,  Charles      .... 

The  Cabaret      .... 
Consen<atoire  des  Arts  et  Metiers,  Paris 
Coopor,  R.,  Artist   .... 
Cooper,  T.  Sidney,  Artist 
Copley,  John  T.  T.  .         .         .       vii,  157 

Rcmi        ....... 

Corbould,  H.,  Artist        ....        97 

;io 


61 


130,  294, 
57.81, 


210 

225 
37 

165 

173 

217 

153 
133 
221 
302 
103 

93 

81 

102 

214 

57 

193 

45 

10 

302 

61 

35 

,70 

178 

78 

82 

198 

22 1 

166 

53 
214 
301 
114 
203 


137. 157 
.  46 

222 

.  218 


210 
121 

238 

305 
150 

271 

38 

90 

117 

159 
159 
102 


J 


INDEX 


PAGE 

Corbould,  R.,  Artist  ....  90,  97 
Corot,  J.  B.  C,  Artist      .  78,  81 

Cotman,  J.  S.,  Artist 117 

Cotta,  J.  G.,  Publisher 190 

Courbet,  G.,  Artist  ....       78,  165 

Counier  Franfais,  Le 181 

Courrier  and  Ives,  Printers    ....     222 

Co.x,  David,  Artist 117 

Coxa,  C,  Artist 222 

Craene,  F.  di,  Artist  ....  109,  210 
Cranach,  Artist       ......     189 

Crolier,  C,  Author 138 

Cruikshank,  G.,  Artist  ....  61,  109 
Curtis,  Atherton,  Author  .  .  57,  214,  222 
Daguerre,  L.  J.  M.,  Artist,  late  Photographer       54 

Darley,  F.  O.  C,  Artist 221 

Dasio,  Max,  Artist  . 
Daumier,  H.,  Artist 


197,  201 
61,73.74.75.77.79, 


03.  170.  173 


174,  178,  206 
•      77 


Flaubert 


Robert  Macuire 

Ariislcs  en  train,  etc. 

Le  Venire  Legislatif . 

A  Sainte-Pelagie 

La  Rue  Transnonain 

Series  of  Lithographs  for 
Daurat,  A.,  Artist    . 
Dauzats,  A.,  .\rtist  . 
David,  J.  L.,  Artist 
Davies,  A.  B.,  Artist 
Dav,  Printer   . 
Day  &  Haghe  {Sec  Day). 
Day  and  Son  (See  Day). 
De  Cailleux,  A.,  Author  . 
De  Serres 
Decamps,  A.  G.,  Artist   . 

His  Caricatures 
Degas,  H.  G.  E.,  Artist  . 
Delacroix,  E.,  .Artist       .     57,  59,  61,  69,  70,  78,  81 

His  opinion  of  Charlet    . 

Macbeth  and  the  Witches,  by 

Faust,  illustrated  by 

Tigrc  Royal,  by 

Lion  de  L Atlas,  by 

Gcciz  de  Berlichingen,  illustrated  by 

Hamlet,  illustrated  by 
Delamotte,  R.,  Artist 
Delpech,  F.,  Printer 
Denis,  E.,  Artist 
Denon,  Vivant,  Artist 

Portraits  by     . 
Deroy,  E.,  Artist     . 

Portrait  of  Baudelaire     . 
Desguerrois  &  Co.,  Publishers 
Deveria,  Achille,  Artist 

66,  69,  70,  71,  109,  117 

La  Conversation  Anglaise,  hy  .         .        .      69 

Portrait  of  Lemercier      •         ■         •         •       55 

Portraits  by     .         .         .         .         .         .70 

Deveria,  Eugene,  Artist  ....       70 


75 

•  77 

•  79 

•  83 
206 

.  210 
57.  81 
■      41 


57,  106,  109,  n8,  121,  137 


54 
21 

o.  73.  109.  -14 
73 
178 
81 
61 
.       69 
.      69 
.       69 
59.  67.  69 
.       69 
.      69 
.       90 

42,  53.  54.  65 

178 

26,  41,  42,  45 

.      42 

58.  73.  243 

•  243 

•  205 
53.  55.  57. 


PAGE 

202 

•    134 

149 

.     .     70, 78 

101 

105 

54. 81 

lOI 

177 

178 

225 

xiii 

190 

222 

210 

78 

94 

218 

213 

213 

106, 

117 

210 

153. 


Dewasmes,  Publisher     . 
Dial,  The         .... 
Diaz  de  la  Pcna,  N.  V.,  Artist 
Dibdin,  T.  F.,  Author     . 
Dickinson,  ].,  Publisher 
Didot,  Publisher     . 
Dighton,  Dennis,  Artist 
Dillon,  H.  P;',  Artist 
Dinet,  E.,  Artist      . 
Dodge,  O.,  Artist     . 
Dodgson,  Campbell 
Dominic,  Artist 
Donoho,  R.,  Artist . 
Donon,  Printer 
Dore,  Gustave,  Artist 
D'Orsay,  Count,  Amateur 
Doughty,  Thomas,  Artist 
Doyen,  Camillo,  Printer 
Doyen,  Michele,  &  Co.,  Printers 
Doyle,  J.  (H.  B.),  Artist 
Dresden  Galler}^     . 
Duchatel,  E.,  Printer  and  Author 

166,  173,  262,  265,  286, 

Traitc  de  Lithographic  Artistiqiie     .    153, 

166,  173,  263 
Dumond,  \V.,  Artist 
Dumont,  Maurice,  Artist 
Duplat,  Engraver   .... 
Dupre,  Jules,  Artist 
Diirer,  A.,  Artist     .... 
Diisscldorfer  Kiinstler  Album  . 

Artists  who  contributed  to 
Diisscldorfer  Monathejte  . 

Artists  who  contributed  to 
Dutch  Gallery,  The 

Artists  who  contributed  to 
Duval,  P.  S.,  Printer 
Duval  and  Hunter  (See  P.  S.  Duval) 
Eckout,  Artist          .... 
Ekeman-Allesson,  L.,  Artist  . 
Elements  of  Drawing,  Reference  to    Litho- 
graphy in 1 1  o 

Engelmann,  Godefroi,  Printer       .    6,  26,  37, 
41.  42.  46,  S3-  54,  61,  65,  70, 
105,  106,  178,  206,  217,  218,  253 


302 


.     117 
.     181 

.  .  38 
70,  214 

21,  189,  190 
193 
193 
193 
193 
205 

205 
218,  221 

202 
•     214 


His  Shop  at  Mulhouse     .... 

Comes  to  Paris 

Invents  the  name  Chromo-lithography  . 

Starts  a  House  in  London       .        46,  105 

Traite   Theoriquc   et  Pratique  de  Litho- 
graphic     ...... 

Prints    Baron    Taylor's    Voyages   Pitlo- 

resques 

Engelmann,  Graf,  Coindet  &  Co   . 
Engraving  on  Stone 
Espagnat,  Georges  d'.  Artist 
Estampc  Originate,  L      .    149,  153 


41 

42 

46 

106 

46 


Etching  on  Stone 


■   54 

46,  105,  218 

9,  10,  13,  237 

•  177 
169,  174, 
177,  178,  197 
.  9,  10 


;ii 


INDEX 


Eugene,  Prince  (Eugene  Beauharnais)  .       22 

Exhibition  of  Black-and-White  in  Paris        .     105 
Exhibitions  of  Lithographs — 

In  Cologne xii,  238 

In    New    York   (at    the   Grolier   Club) 

206,  218 


In   Paris  (Centenary  Exhibition  at  the 
Champ-de-Mars)      .         .         .         . 
In  Paris  (Ecole  des  Beaux-Arts) 


At  South  Kensington 

In  Vienna 

In  Leipzig 
Fairland,  Thomas,  Artist 
Fantin-Latour,  H.,  Artist 


Roses 

Idyl 

His  Use  of  Paper   . 
Farney,  H.  F.,  Artist 
Fauchon,  H.,  Artist 
Fechner,  H.,  Artist 
Ferdinand  VII 
Festa,  Felice,  Printer     . 
Figaro  Lithographe 
Fischer,  J.  G.  P.,  Artist 
Fischer,  Otto,  Artist 

//;  the  Wood     . 
Fisher,  T.,  Author 

Foire  en  Traitsylvanie,  by  Lancedelly 
Forain,  J.  L.,  Artist 
Foster,  Printer 
Fortuny,  M.,  Artist 
Fragonard,  A.  E.,  Artist 
Frangais,  L.  F.,  Artist    . 
Franklin  Institute,  The 
Frenz,  A.,  Artist 
Fuch,  G.,  Artist      . 
Fudge,  ].,  Artist     . 
Fuseli,  Henry,  Artist 
Gabain,  Ethel 

The  Revellers    . 
Gaillot,  B.,  Printer 
Galcrie  dc  la  Diicliesse  de  Berry 
Galcric  Liltiographiee  de  Soti  Altesse  Royale 

Monseigneitr  le  Due  d'OrUan 
Galleria  dc  Torino  .... 
Gallery  of  the  King  of  Sardinia 
Gandara,  Artist      .... 

Gandell 

Gaulon,  Printer      .... 
Gavarni,  Artist        .        63,  66,  67,  70,  71,  73, 

74,  77,  81,  82,  105,  150,  174 

Recreations  diabolico-fantasmagoriques   .     174 

LeBal  Masque         .        .        .        .         67,81 

His  Work  for  L' Artiste    . 

Portrait  of  the  de  Goncourts 

Thomas  Vireloque 

Series  of  Lithographs 


.     169 

165, 

166,  173 

xiii,  90 

.     201,  238 

xi,  xii 

.      106 

137,  149,  163, 

165,  173.  174. 


183 
163 

183 


i/3 
221 
i6g 
198 
209 
213 
169 

93 
198,  199 

,     199 

.      90 

4S.  201 

•  174 
81,  lor 

•  213 
54.70 

81,  169 

217,  218 

198,  201 

.     169 

.     102 

.       90 

151.  157 

•  151 
45.46 
.       81 


81 
213 

213 

178 

98 

210 


•  74 

•  63 
7'.  74 


Geheimniss  des  Steindrucks,  Das  (See  Secret  of 

Lithography). 
Geiniilde  der  Briider  Boisscrce 

Gemiildc  der  Pinakothek 

Gentleman's  Magazine,  The     .... 
Gentz,  J.,  Artist 


Gericault,  T.,  Artist 


190 

190 

90 

198 


47.  54.  61,  65,  105,  106 


47 


73.  «i 


54. 


134 


Subjects  Drawn  from  Life  and  on  Ston 

First  Lithographs   . 

His  Drawing  on  Stone  Paper 

The  Boxers 
Gerold,  Karl,  Publisher 
Gigoux,  Jean,  Artist        .         .         .70 

Satisfaction,  by 

His  Portraits   . 

Do.  of  Tony  and  Alfred  Johannot 
Gihaut,  Printer 
Gil  Bias  Illustre      . 
Gilbert,  Achille,  Artist    . 
Gilbert,  Alfred,  Artist     . 
Gilloiage  .... 
Gillray,  James,  Artist 
Girardin,  E.  de,  Author 
Girodet,  Trioson,  Artist 
Glackens,  Artist 
Gleissner 

Goethe  .... 
Goghe,  Van,  Publisher  . 
Goncourt,  Edmond  and  Jules  de.  Authors 

63.69 

Portraits  of,  by  Gavarni 
Gonin,  E.,  Artist     . 
Gould,  John,  Author 

Birds  of  the  World  . 
Gould,  Mrs.  J.,  Artist 
Goulding,  Charles,  Printer 


65 
61 

65 
106 

25 

130 

73 

73 

73 

61, 6s 

174 
82 

137 
78 

93 
,70 

41 

225 

10 

69 

205 


66 


.73 
63 
213 
106 
106 
106 


Goulding,  Frederick,  Printer 
Goupil,  Publisher 
Gova,  F.,  Artist       . 


134.  137.  149. 
153.  154.  157. 
•      153.  154. 


293 

157 


133.  158.  178 


xiii,  66,  69,  209, 
213. 231 


Bull-Fights,  by 

Caricatures  Espagnoles,  after 

The  Bull-Fight 

Portrait   . 
Graf,  Printer  . 

Grammar  of  Lithography,  The 
Grandville,  ].  J.,  Artist   . 
Graves,  Publisher  . 
Gravesande,  C.  Storm  van  's.  Artist 
Green,  Charles,  Artist     . 
Gregor,  J.,  Printer 
Greiner,  Otto,  Artist 

The  Dance 
Grethe,  Carlos,  Artist 
Grevedon,  P.  L.,  Artist 
Griggs,  W.,  Printer 
Grolier  Club  . 
Grolier  Club  Catalogue    . 


209, 


235 
213 
209 
231 
235 
46,  105,  2l8 

257.  30s 
.  66 
.  109 

205,  206 
■  130 
•  225 

201 
191 
198 

73 

225 

.  218 

206,  217 


191, .198, 


137. 


312 


INDEX 


177. 205, 299 
•   299 

]oi,  io6 
.  106 
.     106 

.     218 
121 

45 
169 

65 

-,8 


45. 


Gros,  Baron,  Artist 

Groux,  Henri  de,  Artist . 
La  Vigiie  Abainloniii 

Guaci,  M.,  Artist     . 

Guaci,  Paul,  Artist. 

Guaci,  William,  Artist    . 

Guerin,  C.  G.,  Artist 

Guerin,  Pierre,  Artist 

The  First  Artistic  Lithograpl 

Guillon,  P.  E.,  Artist      . 

Guillot,  Artist 

Guyot-Desmaries,  Artist 

H.  B.  {See  J.  Doyle). 

Haghe,  L.,  Artist     .       57,  102,  106,  115,  iiS, 

122,  202,  214 

Tl!e  Simoon 115 

Picturesque  Sketches  of  Belgium  .  .118 
Roberts' //o/>' Z-(7;;(/  .  .  .  ■  nS 
Roberts'  Destruction  of  Jerusalem  .        .     118 

Hall,  S.  C,  Author 114 

Hall,  Oliver,  Artist         ....      153,  157 

Hamilton,  James,  Artist  .         .         .         .221 

Hamilton,  J.  McLure,  Artist  .         .       153,  157,  295 
Portrait  of  Gladstone        ....     295 
Hanfstangi,  F.,  Artist  and  Printer  .       3, 

23,  82,  109,  190,  194,  210 
His  Portrait  of  Senefelder  ...  3 
Portrait  after  Van  der  Heist  ...  23 
Work  for  the  Dresden  Gallery        .        .     190 

Hanhart,  Printer 46 

Harding,  J.  D.,  Artist      .        57,  99,  102,  105, 

no,  113,  114,  121,  122,  213,  302 


From  Pai'k  and  Forest     . 

Sketches  at  Home  and  Abroad 

Roberts'  Holy  Land 
Harley,  S.,  Artist    . 
Hart,  C,  Artist  and  Printer 
Hartley,  Alfred,  Artist   . 
Hartrick,  A.  S. 

Betsey       .        . 
Haskell,  Ernest,  Artist   . 
Hausmann,  B.,  Author  . 
Haverman,  H.  J.,  Artist 

Mother  and  Child     . 
Heaphy,  Artist 
Hearne,  T.,  Artist  . 
Heath,  Charles,  Engraver 
Heath,  J.,  Engraver 
Heinemann,  William,  Publisher 
Herbert,  J.  R.,  Artist      . 
Herkomer,  H.  von,  Artist 
Hervier,  Adolphe,  Artist 

Landscape 
Hewitt,,  G.,  Artist  . 
Hinshaw,  Glen 
Hodebert,  E.,  Artist 
Hogarth,  J.,  Publisher   . 
Hogarth  Sketches  . 
Hohe,  F.,  Artist      . 


99. 


106, 


15I; 


206,  : 


Hole,  W.,  Artist      . 
Holloway,  C.  E.,  Artist  . 

Portfolio  of  Ten  Sketches 
Holme,  Charles,  Editor  . 
Homer,  Winslow,  Artist 

Campaign  Sketches   . 
Hope,  Miss. A.  E.,  Artist 
Hoytema,  T.  van.  Artist 
Hue,  A.,  Artist 
Huet,  Paul,  Artist  . 
Hulin,  Madame,  Publisher 
HuUmandel,  C,  Printer 


114 
114 
118 

lOI 

225 

137 

267 

267 

225 

21 

:iS 

:i5 

98 

go 

93 
90 


.     109 
.     201 

7«.  239 

•  239 

•  157 

•  225 
.     169 

114 
130 
190 


PAGE 

.    igo 

137.  150 
.    150 

•  134 

218,  221 
.    221 

•  157 
.  206 
.      81 

54,  70,  no,  214 
.         .         .       65 
25.  46,  <Jf5,  70. 


89,  94,  97,  98,  99,  loi,  102,  105,  106, 

no,  n4,  237,  253,  257,  265,  28s,  301 


His  Lithotint  . 

Twenty-four  Views  of  Italy 

Catalogue  of  Works 

Art  of  Drawing  on  Stone 
Hunt,  Holman,  Artist     . 
Hunt,  W.  M.,  Artist 
Hymans,  H.,  Artist 
I  bcls,  H.  G.,  Artist 
Iconografia  Espaiiola 
Ingres,  J.  A.  D.,  Artist    . 

His  Odalisque,  reproduced  by 

Papier  Ingres    . 
Institut  dc  France 
Isabey,  Eugene,  Artist 


Sudre 


70,  n4 
94,  lOI 
102 
28s 
129 
218 
205 

174 
210 

54,81 
81 
266 
37 


45,  51,54,57,58, 
214, 


io6. 


Environs  de  Dieppe  . 

Souvenirs  de     . 

Work  for  Voyages  Pittoresques 

Six  Marines  dessinces  sur  Pierre 
Isabey,  J.  B.,  Artist 
Isis  Medal,  The      ... 
Israels,  J.,  Artist 
Jacott,  ].,  Artist 
Jackson,  F.  E. 

Robe  de  Velours 
Jacque,  C,  Artist    . 
Jeanniot,  G.  P.,  Artist     . 
Jobard,  Jean  Baptiste,  Printer 
Johannot,  Alfred,  Artist 
Johannot,  F.,  Printer 
Johannot,  Tony,  Artist    . 
Jollivet,  J.,  Artist     . 
Jones,  Owen,  Artist  and  Author 

The  Athambra  . 
'Journal  de  Beaux-Arts  et  de  la  Li 
Journal  des  Connaissances 
Journal  of  the  Franklin  Institute 

Judge 

Jugend   .         .         .         .         • 
Kalckreuth,  L.,  Artist 
Kappstein,  Karl,  Artist   . 
Kcenc,  Cliarles,  Artist     . 
Kelheini,  or  Solenhofen,  Stone 

Kepler,  Max,  Artist 


•  51 
■       57 

•  57 

•  57 
45,  54,65,70.  no 

■    94-5,  loi 

.     205 

.       82 

xii,  157,  242 

.         .     283 

•         •       78 

.         .     178 

.     202 

38,  70 

.        .       89 

57,  70 

81,  210 

.     102,  106 

.     106 

crature     .     205 

.     217 

.     217 

213,  222 


9,  37. 


•  197 
.     198 

198,  242 

•  73 
98, 

246,    249 
222 

M 


INDEX 


Ketterlinus     Lithographic     Manufacturing 

Company 225 

Khnopff,  Fernand,  Artist  ....  205 
Klinger,  Max,  Artist  ....  173,  198 
Knecht,  L.,  Printer         .        .        .        .         26,  53 

Koehler,  S.  R.,  Author 221 

Kollwitz,  Frau,  Artist 197 

Workwoman 207 

Koniglichen  Acadcmie  jHr  Grapliisdic  k'linsl 

und  Buck  Gewerbe,  Leipzig       .        .     241 
Koniglich     Baicrischer     Gemiilde  -  Saal    zti 

Miincheii  und  Schleifshcim         .       25,  190 
Koninkliik  Museum  van  'sGravenliage  op  sleen 
gebragl,  Hel  {See  the  Dutch  Gallery). 
Korn,  Maker  of  Chalks,  etc.  .        .        .     253,  254 

Kraus,  Press  Builders 241 

Kroniek,  De 206 

Lachnitt,  A.,  Artist 169 

La  Farge,  John,  Artist  and  Author  .  58,  219 
Lami,  Eugene,  Artist  .  58,  61,  65,  70,  102,  105 
Unifonnes  des  Armecs  Franfaises  .  .  58 
Lancedelly,  Josef,  Artist  .  .  -451  201 
Lane,  R.  J.,  Artist  .    102,  105,  no,  in, 

117.  121,  134 
Portrait  of  Mrs.  y^ameson  .  .  .111 
Portfolio  of  Illustrations  of  Jolin  Keinble, 

etc 105 

Sketches  after  Gainsborough  .         .117 

Lange,  Helen,  Artist 198 

Langlume,  Printer 53 

Lassalle,  Emile,  Artist 82 

Lasteyrie,  Comte  C.  P.  de.  Printer        .       6, 

26,41,  42,  53,  61,  118,  217 

Visit  to  Munich 41 

Opens  a  Lithographic  Press  in  Paris     .       41 
His  Shop  becomes  Fashionable  Head- 
quarters     42 

Lauber,  J.,  Artist 222 

Laurens,  J.,  Artist 82 

Laurens,  J.  P.,  Artist 173 

Lauters,  P.,  Artist 202 

Lauzet,  A.  M.,  Artist 169 

Lavigne,  Marin,  Artist 82 

Lawrence,  Sir  Thomas,  Artist        .         .         .210 

Lawson,  J.  Kerr 147,  157 

It  Pontc 147 


Leandre,  Artist 
Lear,  Edward,  Artist 
Lebrasseur,  R.,  Publisher 
Lecomte,  Aubry-,  Artist 
Lecomte,  H.,  Artist 
Lefort,  Paul,  Author 
Legrand,  Louis,  Artist    . 
Legros,  Professor  A.,  Artist    . 
Lehmann  and  Duval,  Printers 
Leighton,  Lord,  Artist    . 
Leipzig  Exhibitions 
Lejeune,  General  Baron,  Printer 
The  Cossack  by 


.     181 

■       122 

.       .       .     78 

54.  81 
42,  61 
.  210 
.    181 

i34>  137'  149-  165 
.    218 

•     134 
.  xi,  xii,  xiii,  238 

41 
IS 


169, 


PAGE 

Lemcrcier,  Printer  .         .        53,  165,  225,  241 

Lithographic  Chalks  manufactured  by  . 
Lemercier,  R.   'J.,   Founder  of  the   Firm  of 

Lemercier,  by  Deveria 
Lemud,  A.  de.  Artist 

Hi&  Maitre  Wulfranib 
Leonard,  J.,  Artist 

After  Rembrandt 
Lepcre,  A.,  Artist   . 
Le  Roux,  E.,  .Artist 
Leslie,  C.  R.,  Artist 
Lethaby,  W.  R.,  Artist   . 
Lewis,  J.  F.,  Artist 

Tlie  Alhambra  . 

Sketches  of  Spain  and  Spanish 

Sketches  of  Constantinople 
Leys,  Baron,  Artist 
Lhermitte        .... 
Liberie,  La       ...        . 
Library  of  the  Fine  Arts,  etc..  The 
Lidia,  La         .... 
Liebermann,  Max,  Artist 
Linnell,  John,  Artist 
Linnell,  John,  Jun.,  Artist 

Lithograph  after  Mulready's  Soiin 


O,   II 


Character 


Lithographer,  The   . 
Lithographic  Artistique,  Traitc  di 
Lithographic  Mensuelle,  La 
Lithographies  d'apris  les  Principaux  Tableaux 
de  Monseigneur   le   Prince    d'Aren 
berg,  etc.   . 
Lithography  :  History  of 

Patents     .... 

Discovery  of    . 

Definition  of    . 

First  Lithograph 

First  Book  illustrated  by 

First  Book  on  . 

Secret  of  . 

A  Complete  Course  of       .        .       xi,  25 

In  Paris   .... 

Absolute  Beginning  of    . 

Grammar  of    . 

Technical  Difference  between  Intaglio  or 
Relief  Engraving  and  10,  14,  17,  253 

The  Art  of  Surface  Printing 

Absolutely  Autographic  . 

In  France 

Commercial,  in  Germany 

First  French  Lithograph 

The  Fashion 41, 

Notice  sur  la  Lithographic        ...      45 

Chromo 46 

Popularity  in  France  of  .        .        .         -53 

La  maniere  noire 61 

Lithotint  of  Hullmandel  .         .       70,  114 

Lavis  liihographique  of  Engelmann         .      45 

French  Papers  illustrated  by .        .        -70 


241 


SS 

70 

70 

17s 

175 

177 

81 

109 

133 
121 
121 
121 
121 
205 

173 
70 

loS 
213 
198 
117 
102,  107 


102,  107 
121 
166,  173 

73 


202 

5 
18 

5,  14 

14 

14 

7 

6 

25 

26,  97 

37 

14 
257.  305 


254 
17 
17 
37 
37 
37 
42.43 


1I4 


INDEX 


Lithograpliy — 

French  Albums  of  Litliographs  .  53,  65 
Portraits,  The  Triumph  of  French  .       73 

Thackeray  on  Lithof^raphy  in  Paris  .  77 
Decadence  in  France  of  .        .      77-S,  82 

Ruined  by  Commerciahsni  .  .  77-8,  82 
Frencli  Reproductive  .  .  .78,  81-2 
Lithographs  in  tlie  Salon  .  .  77,  82 
Lithographs  in  the  New  Salon         .      174,  178 

Early  English 89 

First  used  to  illustrate  an  Englisli  Book       94 

English  Stone loi 

Difficulties  of  Early  Lithographers  .  102 
Held  in  Contempt  in  England  .  .  102 
French  Lithographers' Work  in  England  105 
Sporting  Prints  ....  106 
Natural  History  Prints    ....     106 

In  Scotland 121 

Becomes  Commercial  in  England  .  .  122 
In  the  Royal  Academy    ....     137 

Lithographie  Gaufrcc 178 

Future  of 181 

Spread  in  Germany  ....     190 

Introduced    into     Belgium,    202  ;    into 

Holland,  205  ;  Spain  209  ;  Italy         .     213 
Lithographers  in  Switzerland  .         .214 

Commercial,  in  America  .        .         .217 

Franklin  Institute  in  Philadelphia  offers 

Prizes 217 

In  Daily  Journalism         ....     222 

Best  Stone  for 237,  246 

Paper  for  Printing  Lithographs      .         .     266 
Lithographic  Presses       ....     270 
Lithograpliy,  the  Art  of  Making  Drawings  on 

Stone,  by  Bankes       ....       94 
Lithography,  Specimens  of,  Printed  by  Francis 

Moser 94 

Lohle,  Printer 190 

Lomet,  Col.,  Amateur     .         .         .         .         38,  45 

Lithograph  of  Jean  Staininger         .         .       38 

Loo,  Florimond  van.  Artist    ....     205 

Lopez,  J.  A.,  Artist 210 

Louis  of  Bavaria,  Prince         ....       22 

Louis  Philippe 193 

Lozano,  Artist 210 

Lunois,  A.,  Artist    .        166,  167,  169,  173,  174,  181 
Hollandaise  de  Volendam  .      166,  167,  173 

Lynch,  J.  H.,  Artist 117 

Macaire,  Robert 66,  77 

Macbeth,  R.  W.,  Artist  ....     134,  137 

Maclise,  D.,  Artist 109 

Maclure  and  Macdonald,  Printers  .         .     121 

Madou,  J.  B.,  Artist        ....     202,  205 

Scenes  de  la  Vie  des  Peinires,  etc.      .        .     202 

Madrazo,  Jose  de,  Artist  .         .      209,  210,  213 

Magazine  of  Art,  The 134 

Mairet,  F.,  Printer  .         .         .         .         45, 53 

Manet,  Edouard,  Artist  .         .       149,  165,  169,  287 

His  Illustrations  to  The  Raven         .        .     169 


Manet,  Edouard — 

Portrait  de  Femme . 
Mannlich,  C.  von,  Printer 
Marc-Gazca,  Printer 
Marchant,  W.,  Dealer    . 
Maris,  James,  Artist 

Dutch  Church  . 
Markendorf,  Artist . 
Marks,  Montague  . 
Marlet,  J.  H.,  Artist 
Marty,  Andre,  Publisher 
Matisse,  Artist 
Maurou,  Paul,  Artist 

The  Vision 
Maximilian,  Joseph 
Maximilian,  Missal  of     . 
McCarter,  Artist     . 
McCuUoch,  George,  Artist     . 
McLean,  Publisher 

Monthly  Sheet  of  Caricatures 
Mendoza,  Artist 
Menzel,  Adolf  von,  .\rtist 


.     287 

.     189 

.         .         .      6s 

•  157 
.  205 
.  227 
.     190 

222 

.      61 

153,  169,  174,  178 

•  •     17; 
166,  169,  263 

•  263 

22,  26 
.     189 

•  225 

•  121,  133 
log,  114,  118 

.     118 

•  213 
ix,  58,  137, 

190,  193,  194,  195,  197,  225 

The  Garden 195 

Uniforms  of  the  Army  of  Frederick  the 

Great 194 

His  work  for  the  Dresden  Gallery  .  .  190 
Lithographs  for  Kiinsllers  Erdenwallen  .  193 
Denkwiirdigkeiten  aus  der  Brandenbur 

gisch  Preussischen  Geschichte  .  .  194 
Illustrations  for  History  of  Frederick  the 

Great 194 

Sketches  on  Stone 194 

Versuche  aiif  Slein  mil  Pinsel  und  Scha 

beisen 


Christ  in  the  Temple . 
Merimee 

Mesdag,  H.  W.,  Artist    . 
Mielatz,  C.  F.  W.,  Artist 
Millais,  Artist 
Millet,  J.  F.,  Artist . 

The  Sower 
Miroir,  Le        .        .        . 
Mirror,  The    . 
Mitterer,  Printer     . 
Mode,  La  .        .        . 

Modern  Painters 
Molard,  Professor  . 
MoUien,  Countess,  Amateur 
Monnier,  Henri,  Artist   . 

Joseph  Prudlwmme . 

Publications 
Montalti,  A.,  Artist 
Montpensier,  Due  de.  Amateur 
Montrose,  Duchess  of.  Amateur 
Monvcl,  Boutet  de. 
Moran,  Thomas,  Artist  . 
Morgan,  Mat.,  Artist 
Morin,  E.,  Artist     . 


78, 


194 

IX,  194 

46 

206 

225 

129 

I,  187,  214 


187 
70 
118 
22,  loi,  190,  193 

70 

22  I 

38 
41 

66,  105,  109 

66 

66 

14 

45.93 

93 

178 

222 

221 

131 


42: 


■.) 


INDEX 


PAGE 

Morlot  and  Lan,  Publishers  ....       57 
Moser,  F.,  Printer  ....  94,  97,  loi 

Motte,  C,  Printer   .     53,  61,  66,  69,  70,  77,  81,  209 


SI,  109,  114 
Nighl 

.  81 
.  62 
118 
118 


114, 


Mouilleron,  A.,  Artist 

Reproduction    of    Rembrandt's 
U'aicli        .... 
Mo3'on,  Publisher  .... 
Miiller,  William,  Artist  . 

Age  of  Francis  I 
Mulready,  W.  {See  J.  Linnell,  Jun.). 
Music  Historiqnc,  Mulhouse    ....       41 
NacJilrag      sii     Albrcchl     Diirers     Chrisllicit 
Mythologisclien      Haudzeichnunilcn 
(with  Cranach's  drawings)       .         .189 
Nanteuil,  Celestin,  Artist       .         .         .57,  70,  81 
Rue  de  la  Vieille  Lanteriie,  bj'  .         .       70 


Napoleon  I     .         .         .         .         22, 41 

6 

1,62,65 

Napoleonic  Legend,  The       .      61,  62,  65 

74,  106 

Nash,  J.,  Artist        .         .        .       114,117, 

118,  214 

Baronial  Halls  of  England 

■     "7 

Historic  Mansions    . 

■     117 

WUkie's,  Oriental  Sketches 

.     118 

Wilkie's  Spanish  Slielchcs 

.     118 

Ncolith,  The 

•     157 

Nethercliff,  J.,  Printer    . 

.       lOI 

Neue  Lithographien 

.     201 

Newsam,  Albert,  Artist  . 

.     218 

New  York  Daily  Graphic,  The 

.     222 

Nicholson,  W.,  Artist     . 

.       lOI 

Niedermayer,  Printer     . 

•      37 

Nodier,  Charles,  Author 

■      54 

Noel,  Leon,  Artist  . 

.      81 

North,  Lady  Georgiana,  Amateur . 

•      94 

Notice  sur  la  Lithographic,  on  I' Art  c 

•Imp 

tincr 

sur  Pierre .... 

•       45 

Odevaere,  J.  D.,  Artist    . 

.     202 

Pastes  Belgiqiies,  etc. 

.     202 

Ojetti,  Author 

■     213 

Orleans,  Due  d'  (See  Louis  Philipp 

e). 

Orlik,  Artist    .... 

.     202 

Orloffski,  Artist 

.     217 

Otis,  Bass,  Artist    .... 

.     217 

Otis,  Benj.,  Artist   . 

.     217 

Pageant,  The   . 

138,  149 

Paget,  H.  M.,  Artist 

•     133 

Pan         ....       197,  I 

98,  2. 

•  8, 

241,  242 

Papillon,  historian  and  engraver 

5 

Paroy,  Artist   .... 

•      38 

Parsons,  Alfred,  Artist     . 

•    153 

Parsons,  Charles,  Artist  . 

.    222 

Parthenon,  Tlie 

•     "7 

Peale,  Rembrandt,  Artist 

.    218 

Peintres  Liihographcs,  Lcs 

169,  173 

Album  dcs 

'•     173 

Pendleton  Brothers,  Printers 

.    218 

Pendleton,  Kearney  &  Childs,  Printers 

.    218 

Pennell,  Joseph,  Artist   .         .       133,  154, 

157,  214 

Portrait  of        ....        Fr 

ontispiece 

Gatun  Lock 

. 

■     27s 

PAGE 

Pennell,  Mrs xi 

Pennsylvania  Academy  of  Fine  Arts     .      217,  218 

Perea,  D.,  Artist 213 

Perregaux,  Vernet  draws  portrait  of  Mme.   .      42 
Pliilipon,  Charles,  Editor  and  .\rtist      .         66,  73 

Piccadilly 133 

Picot,  F.  E.,  Artist 54 

PidoU,  Van,  Artist 201 

Pigal,  E.  J.,  Artist 66 

Piloty,  F.,  Artist      ....        37,  190.  194 
Hoar //»)!/,  after  Snydcrs        ...       19 

Piloty  and  Lohle 190 

Work  for  Munich  Gallery         .         .         .     190 
Directs  the  Lcuchtenberg  Gallery     .         .     190 

Pissaro,  Artist 178 

Pleyel,  Publisher 37 

Poitelin,  A.,  Artist 178 

Polyautography,  Name  for  Lithography  89,95 

Name  given  up        .....       95 

Ofiice  of 93 

Specimens  of,  1803    .         .         .         .         89, 90 

Specimens  of,  1806 90 

Polyautographic    Collection   in  the   British 

Museum  Print  Room  ...  90 
Polyautographic  Printer,  The  First  .  .  90 
Polj-autographic  Society,  The  ...  90 
Porter,  Sir  R.  K.,  Amateur  ...  90,  94 
Prado  Gallery,  The .  .  .  .  81,109,210 
Prague,  Senefelder's  Birthplace  ...  6 
Prang,  Louis,  Printer      .         .      217,221,223,225 

Chromos 221 

6 
xii 


Printing  Offices,  Paris    . 
Printing  Trades  Exhibition 
Prout,  Samuel,  Artist 


57.  95.  102.  105. 

no,  113,  114,  214 

•  95 
102 
102 

102,  no 
.  no 
.     no 

•  113 
.      66 

157,  255 

•  255 


The  Pump         .... 

The  Rhine         .... 

Foreign  Views   .... 

Drawing  Books . 

France,  Switzerland,  and  Italy 

Sketches  in  Flanders  and  Germany 

Microcosm         .... 
Prudhomme,  Joseph 
Pryse,  G.  Spencer  .... 

Football  Match .... 

Puck 213 

Punch,  The  First  Idea  for 
Pursell,  E.,  Artist,  Early  Frauds 
Ouaglio,  Dominic,  Artist 
Quaglio,  Laurence,  Artist 
Raffet,  A.,  Artist      .  39,  43,  6r,  62,  70,  73,  82, 

109,  214 

His  .\lbums 

Siege  de  la  CitadcUc  d'A  nvers 

Rctrait  de  Constantine 

Expedition  de  Rome  . 

Illustrations  to  Scott 

Voyages  dans  la  Russie  Mcridionalc,  etc. 

Drawings  on  Paper 


n8 
102 
190 
igo 

302 
62 
62 
62 
62 
62 
62 
62 


116 


INDEX 


PAGE 

Raffet,  A.,  Le  Riveil 

. 

39 

La  Revue  Nocturne  . 

62 

lis  grognaieni,  etc. 

43 

Caricatures 

62 

Raffaelli,  J.  F.,  Artist      . 

178 

Ranger,  H.  W.,  Artist     . 

222 

Rapp,    Heinrich,  Author    of    Tlu 

Sec 

■ct  of 

Lilliography 

25 

Raucourt,  Col.,  Printer  . 

25. 

45.  S3. 

237 

Recamier,  Mme.     . 

22 

Redman,  D.,  Printer 

93- 

94.  97 

lOI 

Radon,  Odilon,  Artist    . 

174. 

177 

Regamey,  Felix,  Artist   . 

213 

Regnault,  J.  B.,  Artist     . 

41 

Reid,  Sir  George,  Artist 

121 

Renouard,  P.,  Artist 

38, 

178 

Revillon,  Madame,  Printer     . 

37 

Revue  des  Pei litres  . 

81 

Ribot,  Artist    .... 

165 

Richmond,  W.  D.,  Author 

257.  305 

Richter,  H.,  Artist  . 

106 

Ricketts,  C,  Artist 

134 

150 

Rico,  Artist     .... 

213 

Ricordi,  Printer  and  Publisher 

214 

Ricourt,  Editor  of  L'A  rtisle  and  Lc 

I  Silh 

ouette 

54. 

70.  74. 

134 

Riviere,  Henri,  Artist 

178 

Roberts,  David,  Artist     . 

114, 

118 

Holy  Land 

118 

His  Opinion  of  Haghe     . 

118 

Picturesque  Sketches  in  Spain 

118 

Destruction  of  Jerusalem . 

118 

Robida,  A.,  Artist   . 

181 

Vieille  France  . 

i8r 

Rodwell  and  Martin,  Publishers 

65 

Roedel,  Auguste,  Artist . 

177 

Rops,  Felicien,  Artist      .         .      i 

70,  201,  205, 

291 

Portrait  of  Adele  Dutte  . 

291 

Roqueplan,  C,  Artist 

70. 

109 

Rose-Croix,  The 

. 

177 

Rosenthal,  G.,  Artist       . 

no, 

221 

Rosenthal,  Max,  Artist  . 

. 

218, 

225 

Rossetti,  Dante  G.,  Artist       . 

, 

129 

Rothenstein,  Will,  Artist 

13s, 

150 

Oxford  Characters     . 

150 

English  Portraits 

150 

Portraits  of  Shannon  and  RicI; 

etts 

135. 

150 

Rowney,  Printer     . 

lOI 

Royal  Academy  of  Arts 

130, 

137 

Royal  Library,  Munich  . 

189 

Royal  Printing  Establishment,  M 

idrid 

210 

Ruskin,  John,  Author     .        no,  i 

14,  121,  129, 

221 

Russian  Lithographers  . 

, 

202 

Rusticus  (Sec  M.  A.  J.  Bauer). 

Sabatier,  L.,  Artist . 

57. 

114 

Sachse  &  Co.,  Printers  . 

194 

Sagot,  Emile,  Artist 

, 

57 

Saint-Evre,  G.         .         .         . 

70 

St.  Stephen's  Review 

. 

213 

PAGn 

Salon,  The      .         .         .81,  82,  170,  173,  177,  178 

The  New  ....       166,  174,  177 

Salon,  Album  dii 81 

Salon  de  1839,  Lc 81 

Salon  de  I'Eslampc  Originate  ....     205 
Sandys,  Frederick,  Artist       .        .         .      119,129 

The  Nightmare 119 

Sargent,  J.  S.,  Artist        .        .         .      137,  139,  153 

A  Study 139 

Sarony,  Napoleon,  Artist        .         .         .         .221 
Saturday  Review      ......     154 

Savoy,  The 149 

Scharf,  G.,  Artist  ....  97,101,106 
SchlichtegroU,  F.  von.  Professor  .  .  6,  25,  8g 
Schmidt,  Simon,  Professor  . 
Scholtz,  M.,  Inventor  of  Algraphie 

Schubert,  Artist 

Schussele,  C,  Artist        .         .         .         .21 

Schwebach,  E.,  Artist     .... 

Scotland  Delineated         .... 

Secret  of  Lithography,  The 

Senefelder,  Aloys,  Inventor  of  Lithography, 

xi,  5,  6,  10,  II,  13,  14,  17,  18,  21,  22, 

25,  26,  45,  46,  65,  70,  89,  94,  97,  98, 

loi,  102,  no,  121, 129,  141,  146,  154, 

173,  177,  178,  i8g,  190,  193,  194,  202, 

206,  217,  223,  234,  237,  238,  246,  250, 

253,258,  261,  270,  273,  281,  285,286, 

289,  290,  293,  294,  298,  301,  302,  305 

His  Plays 6 

His  Discovery  .         .         .        .         10,  14 

His  English  Patent  ...  18,  89 

His  French  Patent 18 

His  Austrian  Patent         ....      21 

Titlc-Page  of  Complete  Course  .        .    11,25,26 

Senefelder,  Clement,  Printer  .        .       26,  189 

Senefelder,  George,  Printer   ...  17,  22 

Senefelder,  Peter 6 

Senefelder,  Theobald,  Printer        .    17,  22,  26,  189 


10,  13,  25 

.     206 

•     205 

218,  22^ 


114 
25 


Senefelder  Club,  The     .         .       157,  158,  298,  306 
Series  of  Antient  Allegorical,  Historical,  and 

Legendary  Paintings,  etc.  ...  go 
Serres,  Marcel  de,  Author  .  .  .  21, 22 
'Sgravesande,  Storm  Van,  Artist    .      205,  206,  223 

Dutch  Fishing  Boats  .         .         .         .223 

Shannon,  C.  H.,  Artist   .  131,  134,  137,  149, 153, 157 

The  Bathers 131 

Lithographs  for  the  Dial,  149 ;  for 
the  Pageant,  149;  for  L'Estampe 
Originate 149 

Portfolios 149 

Short,  Frank,  Artist i33 

Sickert,  Walter,  Critic  and  Artist  .         .     154 

Signac,  Artist i77.  178 

Silhouette,  La 7°.  73 

Simeon,  Comte,  Amateur        ....      45 
Simpson,  William,  Artist         .    102,114,121, 

122,  129 

Sketches  at  the  Seat  of  War  in  the  East     121 


;i7 


INDEX 


.       121 

8i,  169 
22 1 
222 

94 
121 
221 

166 


Simpson,  William,  Artist — 

India        .... 
Sirouy,  Achille,  Artist     . 
Smillie,  J.  D.,  Artist 
Smitli,  F.  Hopkinson,  Artist  . 
Smith,  ].  T.,  Autlior 
Sm3'tlie,  Colve .... 
Smith  field  I  nsiittile. 
Snyders  {See  Piloty). 
Societe  des  Artistes  Lithograplies 
Societe   d'Encouragement   pour   I'lndustrie 

Nationale  .         .         38,  41,  45,  46,  53 

Societe  Industrielle  de  Mulhouse  ...      46 
Society  of  Arts,  Tlie       .      xii,  25,  89,  94,  97, 

98,  99,  Id 

Offers  a  Premium   .... 

Transactions  of  the  .... 
Society  of  Iconophiles    .... 
Solenhofen  Stone  (See  Kelheim  Stone). 
Soulange-Teissier,  L.  E.,  Artist 
South  Kensington  Museum    . 
Specimens  of  Litliograpliy  printed  by  Moser 
Specimens  of  Potyautography  by  Andre  . 

by  Vollweiler    . 
Spruyt,  C,  Artist     . 
"  Spy,"  Artist  .... 
Stanfield,  Clarlison,  Artist 
Steiner,  Professor  . 
Stcinhausen,  W.,  Artist  . 
Steinlen,  T.,  Artist  . 

En  Giive .... 
Sterner,  A.  E.,  Artist 
Stevens,  Alfred,  Artist    . 
Stone  Paper    .... 
Stones  of    Venice,    by   Ruskin,    Lithographs 

for     . 
Stothard,  T.,  Artist . 

Specimen  of  Potyautography 
Strang,  William,  Artist  . 

Artist's  Portrait 
Straub,  C,  Artist  . 
Stri.xner,  N.,  Artist .         .         .7 

Page  of  Dilrcr  Missal 

Directs  the  Boisseree  Gallery 
Stroehling,  P.  E.,  Artist. 
Strohofer,  Printer  . 
Strowbridge  Lithographic  Company,  Printers 

221     222    22  ^ 

Studio,  Tlie      .... 
Sudre,  J.  P.,  Artist  . 
Sullivan,  E.  J. 

Zephyrus  and  Flora. 
Tayler,  Frederick,  Artist 
Taylor,  Baron,  Artist  and  Author 

S7,  78;  I 
Employs  English  Artists 
Ten  Gate,  H.,  Artist 
Terry,  Artist    .... 
Thackeray,  W.  M.,  Author 


225 

82 
xiii,  90 

94 

18,89 

90 

202 

137 
114 

13 

197,  201 

174,  179,  181 

•     179 

222     22^ 
,       129 

.      .     65 


.     no 

87, 90 

.     .    87 

■    143. 149 
•   143 

.     190 

21,  37.   190.  194 

7 
.     190 

.     90 

25.  94 


•  134 
.       81 

15s.  157 

•  iSS 
.     114 


S3.  54. 
05.  113.  128,  134 

•  57.  134 
•  205 
.    214 

•  77.  109 


Thienemann,  Karl,  Publisher 
Thoma,  Hans,  Artist 
Thomson,  George,  Artist 
Thornton,  or  Thornley,  Artist 
Tito,  E.,  Artist 
Toroop,  Jan  van,  Artist  . 
Toulouse-Lautrec,  H.  de,  Artist 


PAGE 

■     25 

197,  201 

137.  153 
.  178 
.  214 
.   205 

171. 
174,  181 

Cover  for  L'Estampe  Originate  .        .     171 

Traite  de  Lithographic  Artistique    .        .        .     166 
Transfer  Paper      .        13,  265,  266,  285,  286, 

289,  290 

First  Recorded  Use  of  .  .  .  .13 
Transferring  Drawings,  Prize  for  .  .  .  loi 
Travies,  G.  T.,  Artist  .  .  .  .  26,  66 
Treuttel  and  Wiirtz,  Publishers  .  .  .216 
Troyon   ....  ...       82 

Tudot,  E.,  Printer 70 

Turner,  J.  M.  W.,  Artist         .        94,  loi,  102,  121 

Burning  Blue  Lights  at  Sea,  Lithographed 

by  Carrick 121 

Twenty-four  Views  of  Italy       .         .        .      94,  loi 
Uniforms    of    the    Army    of    Frederick    the 

Great  .... 
LInceto,  Artist  .... 
Unger,  H.,  Artist    .... 

Study  Head      .... 
Uniformcs  des  Armces  Fran(aiscs    .       78 


41,42, 


26 


Uylenspiegel     . 
Vallego,  Artist 
Valloton,  F.,  Artist 
Vanderhof,  C.  A.,  Artist 
Vanier,  Leon,  Publisher 
Vanity  Fair 

Varley,  Cornelius,  Artist 
Veber,  Jean,  Artist 
Verboekhoven,  E.,  Artist 
Vernet,  Carl,  Artist 

Oris  de  Paris    .... 
Vernet,  Horace,  Artist  . 

Uniformes  des  Armees  Franfaises 
Vernier,  Charles,  Artist . 
Vernier,  Emile,  Artist    . 
Veth,  J.  v..  Artist   .... 

Portrait  of  Menzct    . 
Victoria,  Her  Majesty  Queen,   Amateu 
Vie  de  yesus-Chrisi . 
Vie  de  la  Salute  Vierge    . 
Vierge,  D.,  Artist    . 
Vigneron,  P.  R.,  Artist  . 
Villain,  Printer 
Villedreil,  Comte  de.  Editor  . 
Villeneuve,  J.  L.  F.,  Artist 
Vinter,  J.  A.,  Artist 

Lithographer  to  the  Queen 
VioUet-le-Duc,  Architect 
Vireloque,  Tliomas  . 
Vollvifeiler,  G.  J.,  Publisher    , 

18 


•  58 
.     210 

198,  203 

•  203 
90. 
"4. 


121 
.     170 

•  213 

•  174 
222,  225 

.     i6q 

•  137 
90,94 

•  177 
.     202 

58,  65,  102 

•  65 
54.  58.  63 

•  58 
.  81 
.      81 

206,  219 
.    219 

•  94 
.  8i 
.  81 
■  213 
61,65 

•  53 

•  73 

•  57 

•  117 

•  177 

•  57 
71,  74,  82 

90.  93.  97 


INDEX 


57. 


Vorziigliclistcn     Gemalde     der     Konigliclicn 

Galerie  in  Dresden    ....     190 

Artists    who    worked   for   the   Dresden 

Gallery 190 

Voyages  Pittoresques  el  Romaniiqucs  dans I'A  n- 
cienne  France     .     54,  55,  56,  57,  105, 

113,  118,  134 

Price  and  Publicntioii  of 

Illustrated  by  English  Artists 
Vues  Pittoresques  en  Ecosse 
Wagner  and  Debies,  Printers 
Wagner,  Carl  .         .         .        .        xi,  xn 
Walker,  G.,  Amateur 
Walter,  H.,  Artist  .... 
Waltner,  Artist       .... 
Walton,  W.  L.,  Printer  . 
Ward,  James,  Artist 
Ward,  Marcus,  Printer  and  Publisher  .         .     137 
Warwick,  Earl  of.  Amateur   ....      90 

Washerwoman,  The 9 

Watson,  Charles  J.,  Artist       ....     133 

Watts,  G.  F.,  Artist 137 

Way,  Thomas,  Printer  .         .         .         .      130,  150 
Way,  T.  R.,  Artist   .       .     130,  133,  134,  141, 

142.  145.  146,  153.  157.302 
Lecture  at  Art  Workers'  Guild  .  133,  134 
Catalogue    of    Whistler's    Lithographs 

130.  133.  141.  146,  153 
Portfolio  of  Ten  Sketches  .  .  .  .150 
Reliques  of  Old  London    ....     150 

Wehrschmidt,  D.  A 157,  279 

Old  Hall 279 


54 
134 

•  113 
242 

10,  17.  23 

•  90 
loi,  106 

.     190 

.     106 

102,  106 


PAGE 

Weir,  J.  Alden,  Artist 222 

West,  Sir  Benjamin,  Artist     ....      90 

Westall,  R.,  Artist 102,  103 

Wliirkvind,  The 133 

Whistler,  ].  McNeill,  Artist    .  130,  131,  133, 

'34.  137.  138,  141.  142.  14s.  146, 

150,  IS3,  298,  302 
Portrait  af  y.  PcuncU       .        .        Frontispiece 


St.  Giles',  Solio  .... 

The  Thames       .... 

Lithographs  for  Piccadilly 

Do.  for  The  Whirlwind 

Do.  for  The  Albemarle 

Do.         for  The  Studio 

Lithograph    for    Stephane    Mallarme's 
Vers  et  Proses 

Lithograph  for  The  Pageant    . 

Notes 

Gentle  Art  of  Making  Enemies  . 

Colour  Prints 

Wilkie,  Sir  David,  Artist         .         .         .     109,  201 

Oriental  Sketches 118 

Spanish  Sketches 118 

Reading  the  Will 190 

Willettc,  A.,  Artist .         .         .        .      174,  177,  307 

Fortune 307 

Winterhalter,  F.,  Artist 73 

Woelftie,  J.,  Artist 190 

Wolf,  Joseph,  Artist       ....      106,  193 

Worth,  T.,  Artist 222 

Zeller,  Printer 189 


■  123 

127,  141 

•  133 

•  133 

•  133 

•  134 


141 
138 
131 
131 
138 


319 


•Cbc  Oicsbam  picas 

UNWIN  BROTHERS,  LIMITED 
WOKING  AND  LONDON 


UNIV 


THEirfmAifnr 


frontpiece 


D     000  191  770     7 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


